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Medium: Lithograph
Coloquio
Located in New York, NY
Color lithograph with full margins. Artist's proof inscribed "E II", from "Estado II" edition of 30, aside from the edition of 63. Signed, dated and numbered XXIV/XXX in pencil, lowe...
Category
1970s Modern Lithograph Figurative Prints
Materials
Lithograph
Lithographie VI (Duthuit 20), Repli, Gravures de Henri Matisse
Located in Southampton, NY
Lithograph on vélin a la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Repli, Gravures de Henri Matisse, 1947. Publ...
Category
1940s Modern Lithograph Figurative Prints
Materials
Lithograph
$5,196 Sale Price
20% Off
Crossing the River: Leaping
Located in Lyons, CO
Color lithograph, Edition 30.
Hung Liu grew up in China and came of age during the Chinese Cultural Revolution. She spent four years in the countryside as a laborer, studied paint...
Category
21st Century and Contemporary Contemporary Lithograph Figurative Prints
Materials
Lithograph
Blind Botanist
By Ben Shahn
Located in New York, NY
This 1963 lithograph, printed in color, is a fine example of Ben Shahn’s long preoccupation with the theme of the blind botanist and illustrates his con...
Category
Late 20th Century Modern Lithograph Figurative Prints
Materials
Lithograph
Renoir, Le chapeau épinglé, Les Lithographies de Renoir (after)
Located in Fairfield, CT
Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper.
Year: 1951
Paper Size: 12.5 x 9.5 inches; image size: 11.02 x 8.66 inches
Inscription: Signed in th...
Category
1950s Impressionist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Tribute to Toulouse Lautrec : Lovers, the Kiss - Lithograph - Printed Signature
Located in Paris, IDF
Pablo PICASSO (1881-1973)
Tribute to Toulouse Lautrec : Lovers, the Kiss
Lithograph enhanced with stencil (Jacomet process) after a pastel by the artist
Printed signature in the pla...
Category
Mid-20th Century Modern Lithograph Figurative Prints
Materials
Lithograph
MACHINES
Located in Santa Monica, CA
JOSE CLEMENTE OROZCO (Mexican, 1883-1949)
MACHINES, (aka Dos cabezas y Maquinas, Dos Cabezas, Maquinas) 1935 (Orozco 26)
Lithograph. Image 12 x 17 inches. Full margins, sheet 16 x 2...
Category
1930s Modern Lithograph Figurative Prints
Materials
Lithograph
Guillaume Apollinaire
Located in Collonge Bellerive, Geneve, CH
Original Lithograph - Henri Matisse - Portrait of Guillaume Apollinaire
From the book by André Rouveyre, "Apollinaire " (Paris: Raisons d'Etre, 1952)
Artist : Henri MATISSE
13 x 10 inches
Edition: 151/330
References : Duthuit-Matisse Catalogue raisonné 31
MATISSE'S BIOGRAPHY
YOUTH AND EARLY EDUCATION
Henri Emile Benoît Matisse was born in a tiny, tumbledown weaver's cottage on the rue du Chêne Arnaud in the textile town of Le Cateau-Cambrésis at eight o'clock in the evening on the last night of the year, 31 December 1869 (Le Cateau-Cambrésis is in the extreme north of France near the Belgian border). The house had two rooms, a beaten earth floor and a leaky roof. Matisse said long afterwards that rain fell through a hole above the bed in which he was born. Matisse’s ancestors had lived in the area for centuries before the convulsive social and industrial upheavals of the nineteenth century. Matisse grew up in a world that was still detaching itself from a way of life in some ways unchanged since Roman times. The coming of the railway had put Bohain on the industrial map, but people still traveled everywhere on foot or horseback.
Matisse’s father, Émile Hippolyte Matisse, was a grain merchant whose family were weavers. His mother, Anna Heloise Gerard, was a daughter of a long line of well-to-do tanners. Warmhearted, outgoing, capable and energetic, she was small and sturdily built with the fashionable figure of the period: full breasts and hips, narrow waist, neat ankles and elegant small feet. She had fair skin, broad cheekbones and a wide smile. "My mother had a face with generous features," said her son Henri, who always spoke of her with particular tenderness of the sensitivity. Throughout the forty years of her marriage, she provided unwavering, rocklike support to her husband and her sons. Matisse later said: "My mother loved everything I did." He grew up in nearby Bohain-en-Vermandois, an industrial textile center, until the age of ten, when his father sent him to St. Quentin for lycée.
Anna Heloise worked hard. She ran the section of her husband's shop that sold housepaints, making up the customers' orders and advising on color schemes. The colors evidently left a lasting impression on Henri. The artist himself later said he got his color sense from his mother, who was herself an accomplished painter on porcelain, a fashionable art form at the time. Henri was the couple’s first son.
The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; in particular, he hated the gelid winters. He was a pensive child and by his own account he was a dreamy, frail and not outstandingly bright. In later life he never lost his feeling for his native soil, for seeds and growing things he had encountered in his youth. The fancy pigeons he kept in Nice more than half a century after he left home recalled the weavers' pigeon-lofts tucked away behind even the humblest house in Bohain.
Matisse's childhood memories were of a stern upbringing. "Be quick!" "Look out!" "Run along!" "Get cracking!" were the refrains that rang in his ears as a boy. In later years when survival itself depended on habits of thrift and self-denial, the artist prided himself on being a man of the North. When Matisse in turn had children of his own to bring up, he chided himself for any lapse in discipline or open display of tenderness as weakness on his part.
In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. Although he considered law as tedious, he nonetheless passed the bar in 1888 with distinction and began his practice begrudgingly. Once Matisse finished school, his father, a much more practical man, arranged for his son to obtain a clerking position at a law office.
PAINTING: BEGINNINGS
Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father.
Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted.
Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes.
In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
The Dinner Table (1897) was Matisse’s first masterpiece, and he had spent the entire winter working on the oeuvre. Though the Salon displayed the piece, they hung the work in a poor location, disgusted by what they considered its radical, Impressionist aspects.
Caroline Joblaud was Matisse's early lover for four years during his initial struggles to affirm his artistic direction and professional career. Caroline (also called Camille) gave Matisse his first daughter Marguerite in 1894, who after Matisse's marriage to Amélie Noellie Parayre was warmly accepted contrary to conventional hostility such arrangements provoked. Caroline posed various times for the artist’s compositions while Marguerite served many times as a model for Matisse throughout his life.
MARRIAGE WITH AMÉLIE NOELLIE PARAYRE
The Matisses of Bohain and the Parayres of Beauzelle had outwardly nothing in common, and there was no reason why Matisse and Amélie should ever have met. But in October 1897 Matisse went to a wedding in Paris and happened to sit next to her at the uproarious banquet that followed. There had been no banal flirtation between them, even when the wine flowed, each recognized the other as true metal, and when they got up from the table she held out her hand to Henri Matisse in a way that he never forgot. Matisse at that time was not yet the professorial figure of legend. He was known as a prankster, as a ribald and anti-clerical songster, and as someone who had once broken up a café concert performance just for the hell of it. Amélie's relatives operated at that time within a social, intellectual, and political context of which Matisse had had no previous experience. They stood for free thinking, for the separation of church and state, and for the secularization of the French educational system. Her family, better off that that of Matisse, provided the support he needed for the budding artist. When Matisse married Amélie in January 1898, they had been introduced only three months after.
Amélie's Aunt Noélie and two of her brothers ran a successful women's shop called the Grande Maison des Modes. Before her marriage, Amélie had shown a gift for designing, making, and modeling hats for a fashionable clientele. In June 1899, she found a partner and opened a shop of her own on the rue de Châteaudun. This allowed Henri and herself to live, with Marguerite, in a tiny two-room apartment on the same street. Madame Matisse, fervently loyal, would play a fundamental role in the life and career of the artist for more than 40 years. Marguerite was to become her father's lifetime mainstay
In 1902 disaster struck. Amélie’s parents were disgraced and financially ruined in a spectacular scandal of national scope, as the unsuspecting employees of a woman whose financial empire was based on fraud. Thanks to his early years in a lawyer's office, Matisse was able to busy himself to great effect in the organization of his father-in-law's defense. When all about him lost their heads, burst into tears, and felt more than sorry for themselves, Henri Matisse dealt with their problems one by one. The ordeal had taken its toll, in more than one way. His doctors ordered Matisse to go to Bohain and take two months' complete rest. Amélie had lost both her hat shop and the apartment on the rue de Châteaudun. For the first time, Henri, Amélie and the three children were united in Bohain, having nowhere else to go.
Hillary Spurling, one of Matisse’s biographers, asserts that Amélie’s memories of that public disgrace nurtured a “suspicion of the outside world” that would always mark the Matisse family. The Matisse family formed a kind of hermetic unit which revolved around the artist’s work and profession. They fitted their activities according his breaks and work sessions. Silence was essential. Even during the years when Matisse lived mostly alone in Nice, an annual ritual of unpacking, stretching, framing and hanging ended with the whole family settling down to respond to the paintings. The conference might last several days. Then the dealers were admitted.
Matisse and his wife had had two sons, Jean (born 1899) and Pierre (born 1900). He was not always in peace with his family. He wrote that their views were not always in accord “which disturbs me considerably in my work, for which I require the most complete calm and from those how surround me, a serenity that I cannot find here. I intend to move to a village a few league away.” Pierre, his brother, Jean, and Marguerite remained close to their father through every vicissitude, and Matisse, in his last invalid years, was devoted to his several grandchildren.
In 1899, at a time when his paintings displayed rebellious talent but not much clear direction, Matisse began attending classes in clay modeling and sculpture. Assigned to copy one of the sculptural masterpieces in the Louvre, he selected Jaguar Devouring a Hare a violently precise work by Antoine-Louis Barye. Later, whenever his paintings seemed stuck, he turned to sculpture to organize his thoughts and sensations.
Influenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, Matisse made color a crucial element of his paintings. Matisse said, "In modern art, it is indubitably to Cézanne that I owe the most." By studying Cézanne’s fragmented planes -- which stretched the idea of the still life to a forced contemplation of color surfaces themselves -- Matisse was able to reconstruct his own philosophy of the still life.
Many of his paintings from 1899 to 1905 make use of a pointillist technique adopted from Signac. In 1898, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica.
After years in poverty, Matisse went through his "dark period" (1902-03), moved briefly to naturalism, went back to a dark palette and told friends in 1903 that he had lost all desire to paint and had almost decided to give up.
Fortunately, Matisse was able to earn some money painting a frieze for the World Fair at the Grand Palais in Paris. He also traveled extensively in the early 1900s when tourism was still a new idea. Brought on by railroad, steamships, and other forms of transportation that appeared during the industrial revolution, travel became a popular pursuit. As a cultured tourist, he developed his art with regular doses of travel.
FAUVISM
Matisse's career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover "the essential character of things" and to produce an art "of balance, purity, and serenity," as he himself put it. The changing studio environments seemed always to have had a significant effect on the style of his work.
In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity in the place of the traditional illusion of objectivity .
Matisse hit his stride in the avant-garde art world in the first years of the new decade. He explored the modern art scene through frequent visits to galleries such as Durand-Ruel and Vollard, where he was exposed to work by Paul Cézanne, Paul Gauguin, and Vincent van Gogh.
Matisse’s first solo exhibition took place in 1904, without much success. In 16 May 1905 he arrived in the charming Catalan port of Collioure, in the south of France. He soon invited the painter André Derain (1880-1954), 11 years his junior, to join him. By 1905, Matisse was considered spearhead the Fauve movement in France, characterized by its spontaneity and roughness of execution as well as use of raw color straight from the palette to the canvas. Matisse combined pointillist color and Cézanne’s way of structuring pictorial space stroke by stroke to develop Fauvism - a way less of seeing the world than of feeling it with one’s eyes. When the Fauve summer drew to an end, Derain left Collioure with 30 paintings, 20 drawings and some 50 sketches, never to return, while Matisse departed some days later bringing back to Paris 15 finished paintings, 40 aquarelles, over 100 drawings. He returned Collioure in the summers of 1906, 1907, 1911 and 1914. The lure of the sun would prove always to have powers of restoration to the artist throughout his life particularly after periods of great emotional exertion.
When Fauvist works were first exhibited Salon d'Automne in Paris they created a scandal. Eyewitness accounts tell of laughter emanating from room VII where they were displayed. Gertrud Stein, one of Matisse's most important future supporters, reported that people scratched at the canvases in derision. "A pot of paint has been flung in the face of the public" was the reaction by the critic Camille Mauclair. Louis Vauxcelles described the work with the historic phrase "Donatello au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Derain himself later called the Fauves' color "sticks of dynamite." The painting that was singled out for attacks was Matisse's Woman with a Hat, a portrait of Madame Matisse. This picture was bought be was bought by Gertrude and Leo Stein, a fact which had a very positive effect on Matisse who was suffering demoralization from the bad reception of his work.
Matisse continued his experiments in Collioure, visible in the painting The Open Window and the View of Collioure , also a characteristic work of Fauvism in its raw color and disregard for details. Both of these works of the landscape in the French Mediterranean present a distinct development towards the spontaneous and uninhibited style.
Other than André Derain, Georges Braque, Raoul Dufy and Maurice Vlaminck were also members of the Fauve movement. However, Matisse’s intimate friends among artists were mostly easygoing minor painters, such as Albert Marquet. Matisse’s temperamental aloneness made him prey to vertiginous depressions. He later recalled a breakdown that he underwent in Spain, in 1910: “My bed shook, and from my throat came a little high-pitched cry that I could not stop.”
From the onset of is career women were from one of the cardinal motifs of the artist's production. His Joy of Life (1906) draws us into the world of hallucinatory vividness composed of nymphs set in an idyllic open fields dressed in pure color and sensual outline. Two women lounge in the sunlight while two more chat on the edge of the forest. One crouches to pick some flowers while her companion weaves a chain of them into her hair. A couple embraces each other while another group engages in a lively round-dance in the distance. In this way, Joy of Life depicts woodland nymphs engaging in a celebration of their life, their womanhood, and their sexuality.
Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means.
Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cézanne.
FAME
The decline of the Fauvist movement, after 1906, did nothing to deter the rise of Matisse. From 1906 -1917 he lived in Paris and established his home, studio, and school at Hôtel Biron. Among his neighbors is sculptor Auguste Rodin, writer Jean Cocteau, and dancer Isadora Duncan. Many of his finest works were created in this period, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in with his conservative appearance and strict bourgeois work habits. In fact, the aim of Matisse’s art was something less than revolutionary. In 1908, in a famous statement drawn from “Notes of a Painter,” Matisse declared as his ideal an art “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.”
Matisse's personal habits were incredibly regular. On a typical day rose early and worked all morning with a second work session after lunch, followed by violin practice, a simple supper (vegetable soup, two hard-boiled eggs, salad and a glass of wine) and an early bedtime.
In 1906, he created a series of 12 lithographs, all variations on the theme of a seated nude. He chose to share his graphic work with the public almost immediately. The lithographs were exhibited at the Druet Gallery in Paris the same year that they were produced, and the woodcuts were shown at the Salon des Independants in the spring of 1907.
In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." Notwithstanding newly-won fame, Matisse's work continued to encounter vehement criticism and it was difficult for him to provide for his family. His controversial 1907 painting Blue Nude was burned in effigy at the Armory Show in Chicago in 1913. Contrary to the fate of the Impressionists, Matisse and other Fauves were able to exhibit in art galleries. In 1908 Paul Cassirer, the German art dealer and editor who played a significant role in the promotion of the work the French Impressionists and Post-Impressionists, staged an exhibit of Matisse’s works in Berlin. In the same year the American photographer Alfred Stieglitz in New York organized him one-man show in his tiny Manhattan gallery called 291 which effectively introduced Matisse the powerful American art market.
In the first decade of his notoriety as the leader of the Fauves, Matisse was more admired by foreigners than by the French. It was, after all, the Russians and the Americans who acquired significant collections of his early work almost as quickly as it was created. The great Matisses we see in the Paris museums today were mostly acquired after the artist's death in lieu of death duties. It took the French a good deal longer to understand Matisse's greatness-longer, certainly, than the international cadre of aspiring talents that flocked to his classes when he was still one of the most controversial figures in the Paris avant-garde.
In the summer of 1907, Matisse and his wife went on a long trip to italy "for work and Pleasure," visiting Venice and Padua, where they admired Giotto's frescos. In Florence the were the guests of the Steins in their villa in Fiesole. From this base matisse visited Arezzo, to study Piero della Francesca, and Siena, attracted by the early Sienese painters, especially, Duccio.
PICASSO, GERTRUDE STEIN AND THE CONE SISTERS
During the first decade of the 20th century Americans in Paris Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah took keen interest in Matisse's art. In addition, Gertrude Stein's two friends from Baltimore. Clarabel and Etta Cone, became major patrons of Matisse and Picasso, collecting hundreds of their works.The Cone Sisters acquired their first Matisse in 1906 and, during the next four decades, went on to form one of the world's great collections of his art. The Cone Collection not only contains major works from every phase of Matisse's long career but reflects the sisters' special interest in his Nice period, when a new complexity of form and psychology entered the ever intense surface allure of his paintings.
In April of 1906 during a gathering at the house of the legendary Gertrude Stein, Matisse was introduced to Pablo Picasso who was 11 years younger. Picasso and Matisse were poles apart aesthetically and their life styles were no less so. Matisse was markedly taller and more polished than the stocky, cocky Catalan, was then ruler of the turbulent Paris avant-garde art scene. The two were said to have always been looking over their shoulders at each other. It is well-known that after their rivalry grew, sides were taken. Picasso later said: "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he."
One key difference between their pictorial concepts was that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lives, with Matisse more likely to place his figures in fully realized interiors.
Gertrude Stein, who loved stirring things up, wrote, "the feeling between the Picassoites and the Matisse-ites became bitter." Although Matisse dryly noted that "our disputes were always friendly," it should be pointed out that Picasso and his friends threw suction-cupped darts at Matisse's 1906 Portrait of Marguerite (which Picasso had obtained in a trade for his own Pitcher, Bowl and Lemon, from 1907). While the rift between the two artists eventually healed, the one between their supporters remained.
ACADEMIE MATISSE IN PARIS & SERGEI SHCHUKIN
In 1909, with the Matisse family lived in a former convent on the Boulevard des Invalides, in Paris, where the artist conducted a painting school. His immense notoriety, which had been confirmed in 1905-06 by Joy of Life, a work which seemed to trash every possible norm of pictorial order and painterly finesse.His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1911 until 1917. Hans Purrmann and Sarah Stein were several of his most loyal students.
Although it lasted for only three years (1908-11), and yet, during its brief existence the Académie Matisse became one of the principal crossroads of modern painting for a number of gifted European and American artists.
Given the reputation Matisse had acquired as the"wild man" of modernist color, it must have come as a shock to some of his early students that the program of instruction he offered was remarkably conservative. As Jean Heiberg, the first Norwegian to enroll in the Académie, later wrote in a memoir: "The school had, at Matisse's suggestion, acquired a copy of two antique sculptures from the Louvre, Mars and an archaic sculpture, which he often used to demonstrate. Every now and then he got completely rid of the life model and we only drew from the plaster casts, and his critiques then were no less profitable."
Among Matisse’s students was Olga Meerson, a Russian Jew who had studied with Wassily Kandinsky in Munich and, already possessed of an elegant style, sought to remake herself under Matisse’s tutelage. Amélie suspected the worst. Perhaps a combination of Amélie’s jealousy and Meerson’s neediness caused a Matisse to end the connection, with bad feeling all around. Meerson moved to Munich, where she married the musician Heinz Pringsheim, a brother-in-law of Thomas Mann. Never having fulfilled her promise as a painter, she committed suicide in Berlin, in 1929. One of Matisse's biographers, with access to much of the artist's correspondence, contends that the artist, after his marriage, rarely, if ever, had sex with models, despite his apparent feelings for many.
Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan Morozov (1871–1921). Both acquired modern French art, developed a sensibility for spotting new trends, and publicized them in Russia.
In this period, Matisse had initiated his fecund association with the Russian textile magnate and visionary collector, Sergei Shchukin. The artist created one of his major works La Danse specially for Shchukin as part of a two painting commission. Inspired by a circular dance-- perhaps a sardana - performed by fishermen at Collioure, this painting embodies the clash between the sacred and reality. Human hands link together, but they form a divine spirit. Moreover, Matisse all but abandoned perspective The work ’s flatness emphasizes the idea, colors, and material, a notion that made Matisse a model for Modernists. The other painting commissioned was Music, 1909.
Shchukin was considered by some almost as a co-producer of some of the artist’s greatest works and was strongly commuted to the French painter’s work. Concerning the violent attacks on his friend, the Russian wrote to the artist: “The public is against you, but the future is yours.” By 1914 Shchukin’s house in Moscow contained thirty-seven Matisses. “He always picked the best,” the artist said.
During the political revolution Lenin expropriated Shchukin collection in person but allowed Shchukin to remain, in servants’ quarters, as caretaker and guide. He died in Paris, in 1936. The collection is now in the Hermitage and Pushkin Museums
From about 1911 to 1915, Matisse struggled with the ideas of Cubism, an experiment he felt he was "not participating in" because it did not "speak to [his] deeply sensory nature."
MOROCCO
Like many avant-garde artists in Paris, Matisse was receptive to a broad range of influences. He is one of the first painters to take an interest in various forms of “primitive” art. His art was profoundly influenced by Easter art as well.
Matisse first flirted with the idea of visiting Morocco after a trip to the Moorish part of Spain in the winter of 1910. This taste of the Moors incited a flame of hope that there would be greater inspiration to paint in Morocco. Furthermore, well aware of the exotic subjects in Morocco that had engendered a wealth of inspiration for the famous French painter Delacroix when he visited the country over eighty years before, Matisse felt Morocco would stimulate his painting genius in ways Europe could not. He strove for neither the picturesque nor the pornographic.
In Morocco, Matisse seems to have had difficulties finding models who would pose for him, particularly women because of the law of the veil. Only Jewesses and prostitutes were exempt. Luckily, Matisse to have found the prostitute Zorah for the purpose although he did not paint her as a prostitute. Instead, in his first picture of her, Zorah en Jaune, sexual themes are most conspicuously absent from the canvas. As a prostitute used to exposing and flaunting her body, Zorah could have easily been painted nude or with less clothing to show herself off, but instead Matisse chooses to keep her clothed and posed with prudence. Unlike the primitive, nude Western women in the Fauve Joy of Life. Moroccan Zorah is clothed with respect and detail to her finer characteristics. He is developing his ability to paint with awareness of the non-sexual qualities of his subject, a movement away from Fauve women.
Many of Matisse's Moroccan paintings are covered only in the thinnest washes of pigment, as if he wanted the texture of the unpainted canvas to show through so that it would add rawness to the browns and grays.
Matisse's odalisques have been described as "elaborate fictions" in which the artist re-created the image of the Islamic harem using French models posed in his Nice apartment. The fabrics, screens, carpets, furnishings and costuming recalled the exoticism of the "Orient" and provided a theme for Matisse's preoccupation with the figure and elaborate patterns of exotic fabrics.
Although Matisse's interest in textiles are evident in his compositions made during his 1906 trip to Morocco, it didn't begin as a typical European attraction to the exotic. It was already present to him as a descendent of generations of weavers, who was raised among weavers in Bohain-en-Vermandois, which in the 1880's and 90's was a center of production of fancy silks for the Parisian fashion houses. Like virtually all his northern compatriots, he had an inborn appreciation of their texture and design. He understood the properties of weight and hang, he knew how to use pins and paper patterns, and he was supremely confident with scissors.
Matisse was known to be an avid collector of fabrics, from his days as a poor art student in Paris to the latter years of his life, when his Nice studio overflowed with Persian carpets, delicate Arab embroideries, richly hued African wall hangings, and any number of colorful cushions, curtains, costumes, patterned screens, and backcloths. Textiles soon became the springboard for his radical experiments with perspective and an art based on decorative patterning and pure harmonies of color and line. When he moved house, he also moved his fabrics, describing them as "my working library." He added to the collection all his life, from markets in Algeria, Morocco and Tahiti to the end-of-season sales of Parisian haute couture.
The revitalizing spirit of Morocco would live on in the artist's imagination until the cutouts of the artist's last years.
AFTER PARIS
Matisse continued to evolve in unexpected directions even though never became an abstract painter (though some of his most adventurous works, such as the View of Notre Dame of 1914 or the Yellow Curtain of 1916 come close). His motifs were always recognizable, and the tension between the subject and the formal aspects of the painting was a central concept of his artistic ideal.
Matisse moved to Nice in 1917 to distance himself from wartime activity, where bright, warm colors showed him "simpler venues which won’t stifle the spirit." His spirit became loyal to the "silver clarity of light" in Nice, and he returned to Paris only for a few months each summer. The years 1917–30 are known as his early Nice period, when his principal subject remained the female figure or an odalisque dressed in oriental costume or in various stages of undress, depicted as standing, seated, or reclining in a luxurious, exotic interior of Matisse's own creation. These paintings are infused with southern light, bright colors, and a profusion of decorative patterns. They emanate the atmosphere suggestive of a harem.
In 1929, Matisse temporarily suspended easel painting and traveled to America to sit on the jury of the 29th Carnegie International and, in 1930, spent some time in Tahiti and New York as well as Baltimore, Maryland and Merion, Pennsylvania.He was especially thrilled with New York. An important collector of modern art, and owner of the largest Matisse holdings in America, Dr. Albert Barnes of Merion, commissioned the artist to paint a large mural for the two-story picture gallery of his mansion. Matisse chose the subject of the dance, a theme that had preoccupied him since his early Fauve masterpiece Joy of Life.
Americans were prominent among Matisse's patrons throughout his career, beginning with the Steins (Leo Stein bought Joy of Life right out of the Salon in 1906) and including the Cone sisters of Baltimore and the notoriously cantankerous Barnes. The foundational Matisse monograph was written during his lifetime by another American, Alfred Barr. Also important in promoting Matisse's presence before the transatlantic public was the Manhattan gallery founded in 1931 by the artist's son, Pierre, who remained a prominent figure in the New York art world for almost six decades. In addition to his father, he represented Balthus, Calder, Dubuffet, Giacometti, Miro, Tanguy and others, many of them also friends.
Throughout his long and productive career, Matisse periodically refreshed his creative energies by turning from painting to drawing, sculpture and other forms of artistic expression. In his lifetime he also produced 12 illustrated books which were known as “livre d’artiste” (artist’s book), a specific type of illustrated book that became common in France around the turn of the century. These books were deluxe, limited editions, meant to be collected and admired as works of art, as well as, read. This process began when Swiss publisher Albert Skira first approached the modern master in 1930 to illustrate the work, Poesies, by 19th century French symbolist poet Stéphane Mallarmé . Matisse responded to Skira’s invitation with great enthusiasm and that summer, devoted most of his attention to the commission while he was residing in Paris. The result was a collection of 29 beautiful etchings, of which the Museum will display 16. The subject matter, like the poems themselves, varies considerably, although many of the images reflect the artist’s vacation to the South Pacific. Matisse’s etchings of Mallarmé’s poems are considered among his greatest works in the print medium. In 1941, again for Skira, Matisse began one of his most complicated and successful printmaking projects, Florilege des Amours de Ronsard, illustrating the love poems of 16th century French Renaissance poet Pierre de Ronsard. Ronsard’s subject and strong imagery lent themselves gracefully to Matisse’s favored themes of fruits, flowers, the female form and portraits. The artist selected the poems himself and translated the work from Renaissance French to contemporary French for the publication of the anthology
DIVORCE & LATE FAMILY RELATIONSHIPS
For all his long-lasting friendships with other artists, famous and obscure, Matisse's days and nights were absorbed by solitary labor. Playing the violin seemed a more intimate consolation for decades of critical abuse than the affections of his wife and children.
Although their marriage was still somewhat fragile, the Matisses had decided to stay on in Nice when their lease expired at Place Charles-Félix in the summer of 1938.
Matisse and his wife were separated in 1939 after 41 years when Amélie tried to dismiss the coolly efficient young Lydia Delectorskaya, an orphan refugee from Siberia, who had been hired as Amélie’s companion. However, the Matisses’ marriage ran afoul not of any romantic rival but for the artist’s wish to stand on his own. The first climax came years before in 1913, when Amélie sat more than a hundred times for the Portrait of Madame Matisse. A friend’s diary reported at the time. “Crazy! weeping! By night he recites the Lord’s Prayer! By day he quarrels with his wife!” The portrait, which was the last work to enter Shchukin’s collection, caused Matisse “palpitations, high blood pressure and a constant drumming in his ears.” Such frenzy was not rare when Matisse had difficulty with a painting. He referred to the painting years later in a letter to her as “the one that made you cry, but in which you look so pretty.” Amélie ceded routine leadership of the family to Marguerite. The 1913 portrait was his last painting of her.
Matisse and his wife met the last time to discuss details of their legal separation, in July 1939. One of its key provisions was that everything would be divided equally between the couple.
The meeting took place in Paris at the Gare St. Lazare and lasted thirty minutes, during which Amélie Matisse kept up a flow of small talk while her husband."My wife never looked at me, but I didn't take my eyes off her...," Matisse wrote on the night of that final encounter: "I couldn't get a word out.... I remained as if carved out of wood, swearing never to be caught that way again." "I'm going to try to isolate myself as if I were still absent,'' Matisse announced on his first return to Paris since the official separation from his wife, 'rarely leaving his apartment except for visits to the cinema (his first color film, starring Danny Kaye...
Category
1930s Modern Lithograph Figurative Prints
Materials
Lithograph
Matisse, Esquiman III, Portraits par Henri Matisse (after)
Located in Fairfield, CT
Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued
Year: 1954
Paper Size: 12 x 9.25 inches; image size: 9.05 x 7.08 inches
Inscription...
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Chagall, Tribe of Gad, Vitraux pour Jérusalem (after)
By Marc Chagall
Located in Southampton, NY
Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...
Category
1960s Expressionist Lithograph Figurative Prints
Materials
Lithograph
$1,996 Sale Price
20% Off
Standing Dancer, Leaning from: Ten Dancers - Lithograph - French - Fauvism Art
Located in London, GB
HENRI MATISSE 1869-1954
(Emile Benoît)
Le Cateau-Cambrésis 1869-1954 Nice (French)
Title: Standing Dancer, Leaning, from: Ten Dancers Danseuse debout, accoudée, Dix Danseuses, 1925...
Category
1920s Post-Impressionist Lithograph Figurative Prints
Materials
Lithograph
Art Nouveau Poster "Marmorhouse (Der Teufel und Die Circe) by Josef Fenneker
Located in Chicago, IL
The painter, graphic artist, production and set designer, Josef Fenneker, is one of the most important representatives of artistic film posters of the 1910s and 1920s. He was commissioned primarily by Berlin’s Marmorhaus cinema, which was located on Kurfürstendamm and known for its first releases, as well as by Berlin film production...
Category
1920s Expressionist Lithograph Figurative Prints
Materials
Lithograph
Regiones Botanicas de la Tierra: Antilles No. 1 (Antilles, Botanical Art, ~40% O
Located in Kansas City, MO
Susan Davidoff
Regiones Botanicas de la Tierra: Antilles No. 1 (Antilles, Botanical Art, Botanical Exploration)
Year: 2001
Medium: 5 Color Lithograph with hand applied pigment and co...
Category
Early 2000s Contemporary Lithograph Figurative Prints
Materials
Lithograph
Royal Academy Exhibition Poster (4) By David Hockney
Located in London, GB
Royal Academy Exhibition Poster (4)
By David Hockney
David Hockney is a British painter, draftsman, and photographer celebrated for his vibrant depictions of California swimming po...
Category
2010s Contemporary Lithograph Figurative Prints
Materials
Paper, Lithograph, Offset
Les Constructeurs - Lithograph after Fernand Léger - 1959
Located in Roma, IT
Lithograph realized after Fernand Léger in 1959, on Moulin Richard de Bas paper.
Monogrammed in the plate. Image dimension 47.5x33.5 cm.
It belongs to the suite "Contrastes", print...
Category
1950s Cubist Lithograph Figurative Prints
Materials
Lithograph
The Magic Flute La flute enchantée - Mozart Magic Metropolitan Opera New York
By Marc Chagall
Located in London, GB
This lithograph is hand signed in pencil by the artist "Marc Chagall" at the lower right image.
It is also hand numbered 44 in pencil from the edition of 200, at the lower left margi...
Category
1960s Lithograph Figurative Prints
Materials
Lithograph
America's Son II (Sonny)
Located in Fairlawn, OH
America's Son II (Sonny)
Lithograph, 2016
Signed and numbered in pencil
From: America's Family II
Printer: James Reed at Milestone Graphics
Printed on Arches paper
Edition: 40, of wh...
Category
2010s Contemporary Lithograph Figurative Prints
Materials
Lithograph
Picasso, Composition (Cramer 88), Dans l'Atelier de Picasso (after)
Located in Southampton, NY
Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Dans l'Atelier de Picass...
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph
$10,396 Sale Price
20% Off
The Bible : Jericho's Spies in the Moolight - Original Lithograph (Mourlot #244)
By Marc Chagall
Located in Paris, IDF
Marc Chagall (1887-1985)
The Bible, Jericho's Spies in the Moolight, 1960
Original lithograph (Mourlot Workshop)
On paper 36 x 26.5 cm (c. 14.2 x 10.2 in)
Second illustration on t...
Category
Mid-20th Century Modern Lithograph Figurative Prints
Materials
Lithograph
Magritte, Composition, Poèmes 1923-1958, Dix dessins de René Magritte (after)
Located in Southampton, NY
Lithograph on vélin du Marais paper. Paper Size: 11 x 8.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the volume, Poèmes 1923-1958. Dix dessins d...
Category
1950s Surrealist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Carnival of Nice : Battle of Flowers - Signed lithograph - 50ex
Located in Paris, IDF
Jules CAVAILLES
Carnival of Nice : Battle of Flowers
Original lithograph
Handsigned in pencil
Limited / 50 copies
On vellum 97 x 63 cm (c. 33 x 25 in)
Excellent condition
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph
$297 Sale Price
37% Off
Cecy Loftus
Located in Columbia, MO
HENRI DE TOULOUSE-LAUTREC
Cecy Loftus
1948
Lithograph on paper
Ed. 166/740
20.5 x 14 inches
Category
19th Century Post-Impressionist Lithograph Figurative Prints
Materials
Lithograph
CALYPSO Signed Lithograph Man Playing Clarinet, Pin Stripe Suit, Yellow Hot Pink
By Robin Morris
Located in Union City, NJ
CALYPSO by the woman artist Robin Morris, is an original limited edition lithograph printed using hand lithography techniques(not a photo reproduction or digital print) on archival Arches paper, 100% acid free. CALYPSO is a contemporary musical portrait portraying a man playing clarinet dressed in a yellow pin stripe suit...
Category
1980s Art Deco Lithograph Figurative Prints
Materials
Lithograph
Uses and Customs - Republic of Cisalpina - Lithograph - 1862
Located in Roma, IT
Uses and Customs - Republic of Cisalpina is a lithograph on paper realized in 1862.
The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History o...
Category
1860s Modern Lithograph Figurative Prints
Materials
Lithograph
The Hunters
Located in Belgrade, MT
This piece is artist signed and numbered. Jacques Despierre was born in St. Etienne France, 1912-1995. He studied at the Academie Colarrossi and also at the Ecole des Beaux arts in P...
Category
Mid-20th Century French School Lithograph Figurative Prints
Materials
Lithograph
$325 Sale Price
35% Off
The Elegant Lovers - Lithograph and Stencil, 1959
Located in Paris, IDF
Fernand LÉGER
The elegant lovers , 1959
Original lithograph and stencil
Printed signature in the plate
On vellum Auvergne 50,2 x 40 cm (c. 19,7 x 15,7 Inches)
Published in 1959, under the control of the wife of the artist, Nadia Léger...
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph, Stencil
Eric Fischl Hand Signed Lithograph Figures on the Beach Pictures Generation Art
By Eric Fischl
Located in Surfside, FL
Eric Fischl (AMERICAN, Born 1948)
Lithograph depicting figures on a beach., 1991
Hand signed in pencil to lower left and edition numbered 41/125.
Mounted in a black painted wooden frame behind glass screen.
Dimensions: Frame: 18.75 X 22.75, Image: 16 X 20
From Art Pro-Choice II, 1991
Relief pressure print from stratified collage on wove Okawara paper
Printed by Spring Street Workshop,New York and published by Pace Editions,Inc., New York. This was a portfolio of 8 works by artists
Jennifer Bartlett, Ross Bleckner, Francesco Clemente, Eric Fischl, April Gornik, Claes Oldenburg, Cindy Sherman and Pat Steir.
Eric Fischl (born March 9, 1948) is an American painter, sculptor, printmaker, draughtsman and educator. He is known for his paintings depicting American suburbia from the 1970s and 1980s.
Fischl was born in New York City and grew up on suburban Long Island; his family moved to Phoenix, Arizona, in 1967. His art education began at Phoenix College for two years, followed with studying at Arizona State University. Followed by studying at the California Institute of the Arts in Valencia, California, where he received a B.F.A. in 1972. He then moved to Chicago, taking a job as a guard at the Museum of Contemporary Art.
Between 1974 and 1978 he taught at the Nova Scotia College of Art and Design in Halifax, Nova Scotia. It was at this school where he met his future wife, painter April Gornik. In 1978, he moved back to New York City.
Fischl is a trustee and senior critic at the New York Academy of Art and President of the Academy of the Arts at Guild Hall of East Hampton. In addition to receiving Guild Hall's Academy of the Art's Lifetime Achievement Award in 1994, Fischl was extended the honor of membership to the American Academy of Arts and Letters in 2006.
Fischl has embraced the description of himself as a painter of the suburbs, not generally considered appropriate subject matter prior to his generation. In 2002, Fischl collaborated with the Museum Haus Esters in Krefeld, Germany. Haus Esters is a 1928 home, designed by Mies van der Rohe in 1928 to be a private home. It now houses changing exhibitions. Fischl refurbished it as a home (though not particularly in Bauhaus style) and hired models who, for several days, pretended to be a couple who lived there. He took 2,000 photographs, which he reworked digitally and used as the basis for a series of paintings, one of which, the monumental Krefeld Redux, Bedroom #6 (Surviving the Fall Meant Using You for Handholds) (2004) was purchased by Paul Allen featured in the 2006 Double Take Exhibit at Experience Music Project, where it was juxtaposed with a much smaller Degas pastel. This is by no means the first time Fischl has been compared to Degas.
Twenty years earlier, reviewing a show of 28 Fischl paintings at New York's Whitney Museum, art critic John Russell wrote in The New York Times, "[Degas] sets up a charged situation with his incomparable subtlety of insight and characterization, and then he goes away and leaves us to figure it out as best we can. That is the tactic of Fischl, too, though the society with which he deals has an unstructured brutality and a violence never far from release that are very different from the nicely calibrated cruelties that Degas recorded."
Fischl also collaborated with Jamaica Kincaid, E. L. Doctorow and Frederic Tuten combining paintings and sketches with literary works.Composer Bruce Wolosoff was inspired by Fischl's watercolors to compose "The Loom" for the classical ensemble Eroica Trio.
Fischl's work can be found in the permanent collections of museums such as the Art Gallery of New South Wales, Sydney; Art Institute of Chicago; Broad Museum, Los Angeles; Dallas Museum of Art; Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Louisiana Museum of Modern Art, Humlebaek; Musée National d'Art Moderne, Centre Georges Pompidou, Paris; Museum of Modern Art, New York; and the Philadelphia Museum of Modern Art, among many others.
In May 2022, a new auction record was set for Eric Fischl when his 1982 painting The...
Category
1990s American Realist Lithograph Figurative Prints
Materials
Lithograph
Landscape by Moonlight, Barges in Vietnam lithograph by Vietnamese Master
Located in Norwich, GB
Wonderful original original artist's proof lithograph by Vietnamese/French Master Dang Lebadang. Marked EA (for "Epreuve d'Artiste" lower left, signed lo...
Category
1960s Abstract Impressionist Lithograph Figurative Prints
Materials
Lithograph
Wyeth, May Day, The Four Seasons (after)
By Andrew Wyeth
Located in Southampton, NY
Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Art in America, New York in an edition of CDVII/D. From the folio, The Four Se...
Category
1960s American Realist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Picasso, Composition, Les Métamorphoses (after)
Located in Fairfield, CT
Medium: Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper
Year: 1970
Paper Size: 11.024 x 8.66 inches
Inscription: Inscription: Unsigned and unnumbered, as...
Category
1970s Cubist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Mandragora - Lithograph by Vincenzo Tenore - 1870s
Located in Roma, IT
Lithograph hand watercolored.
Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...
Category
1870s Modern Lithograph Figurative Prints
Materials
Lithograph
Landscape with Trees
Located in San Francisco, CA
This artwork "Landscape with Trees" c.1980 is an original lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand si...
Category
Late 20th Century American Modern Lithograph Figurative Prints
Materials
Lithograph
Rouault, Portrait, Douze Contemporains (after)
Located in Southampton, NY
Lithograph, stencil on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Douze Contemporains, 1959; published by Éditions d'Art du Lion, Paris;...
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph, Stencil
$1,436 Sale Price
20% Off
1970s Modernist Swiss Colorful Surrealism Signed Dada Lithograph Andre Thomkins
Located in Surfside, FL
This one is titled "Little Animals" and depicts drawings of small animals over an abstract forest background in green, red and tan with a quali...
Category
1970s Surrealist Lithograph Figurative Prints
Materials
Lithograph, Offset
Chagall, Tribe of Joseph, Vitraux pour Jérusalem (after)
By Marc Chagall
Located in Southampton, NY
Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...
Category
1960s Expressionist Lithograph Figurative Prints
Materials
Lithograph
$1,996 Sale Price
20% Off
The Red Rooster
By Marc Chagall
Located in OPOLE, PL
Marc Chagall (1887-1985) - The Red Rooster
Original Lithograph from 1957.
Dimensions of work: 23 x 40 cm.
Publisher: Maeght Éditeur, Paris.
The work is in Excellent condition.
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph
$902 Sale Price
20% Off
Bonnard, Femme assise dans sa baignoire, Bonnard Lithographe (after)
Located in Fairfield, CT
Medium: Lithograph on grand vélin Renage filigrané paper.
Year: 1952
Paper Size: 12.5 x 9.5 inches; image size: 7.48 x 8.27 inches
Inscription: Signed in the plate and unnumbered, as...
Category
1950s Post-Impressionist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Matisse, Série D, var. 8 (Duthuit 9), Dessins, Thèmes et variations (after)
Located in Southampton, NY
Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...
Category
1940s Modern Lithograph Figurative Prints
Materials
Lithograph
$796 Sale Price
20% Off
Georg Baselitz, Base - Original Lithograph, Signed Print, Neo-Expressionism
Located in Hamburg, DE
Georg Baselitz (German, born 1938)
Base, 1993
Medium: Lithograph on paper
Dimensions: 50 x 34 cm
Edition of 15: Hand-signed, numbered and dated
Category
20th Century Abstract Lithograph Figurative Prints
Materials
Lithograph
Matisse, La Chevelure, Poésies (after)
Located in Fairfield, CT
Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper
Year: 1970
Paper Size: 11.24 x 8.46 inches
Inscription: Unsigned and unnumbered, as issued
Notes: From the fo...
Category
1970s Modern Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Derrière Le Miroir - Lithograph by Alberto Giacometti - 1961
Located in Roma, IT
Derriere Le Miroir is a suite of original lithographs realized by Alberto Giacometti in 1961.
The artwork is an interesting edition of the French art periodical “Derriere Le Miroir”...
Category
1960s Lithograph Figurative Prints
Materials
Lithograph
Picasso, Composition, Carnet de dessins de Picasso, Cahiers d’Art (after)
Located in Fairfield, CT
Medium: Lithograph on vélin paper
Year: 1948
Paper Size: 16.54 x 11.81 inches
Inscription: Inscription: Unsigned and unnumbered, as issued
Notes: From the album, Carnet de dessins de...
Category
1940s Cubist Lithograph Figurative Prints
Materials
Lithograph
$2,796 Sale Price
20% Off
The Umbrellas, Japan - USA Offset lithograph poster (Hand Signed by Christo)
Located in New York, NY
Christo and Jeanne-Claude
The Umbrellas, Japan - USA (Hand Signed), 1991
Offset lithograph poster
Boldly signed by Christo upper right
25 × 38 inches
Unframed
This rare vintage poster was published by Christo and Jeanne-Claude to promote and raise funds for Christo's famous Umbrellas Japan-USA project in the early 1990s. It is hand signed boldly in black marker "Christo" on the recto - upper right corner. This work was acquired from the Estate of Jacob and Aviva Baal-Teshuva, collectors, curators, authors, early supporters and good friends of Christo. Authenticity unconditionally guaranteed.
ABOUT THE UMBRELLAS JAPAN-USA PROJECT:
At sunrise, on October 9, 1991, Christo and Jeanne-Claude's 1,880 workers began to open the 3,100 umbrellas in Ibaraki and California, in the presence of the artists at both sites. This Japan-USA temporary work of art reflected the similarities and differences in the ways of life and the use of the land in two inland valleys, one 12 miles (19 kilometers) long in Japan, and the other 18 miles (29 kilometers) long in the USA.
In Japan, the valley is located north of Hitachiota and south of Satomi, 75 miles (120 kilometers) north of Tokyo, around Route 349 and the Sato River, in the Prefecture of Ibaraki, on the properties of 459 private landowners and governmental agencies. In the USA, the valley is located 60 miles (96.5 kilometers) north of Los Angeles, along Interstate 5...
Category
1990s Pop Art Lithograph Figurative Prints
Materials
Lithograph, Offset
Picasso, Sans titre, Pablo Picasso, Toros Y Toreros (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 14.75 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...
Category
1960s Cubist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Picasso, Sans titre, Pablo Picasso, Toros Y Toreros (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 14.75 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...
Category
1960s Cubist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
My Journey Portfolio 1998 Mourlot Lithographs Healing Efforts and Big Hearts
Located in Rochester Hills, MI
Artist: Alexandra Nechita
Title: My Journey - Blue Portfolio
Artworks: Healing Efforts, Big Hearts Are Never Too Big
Year: 1998
Lithographs on Arches Archival Paper
Size; 35½'' x...
Category
1990s Abstract Lithograph Figurative Prints
Materials
Lithograph
Picasso, Composition, Pablo Picasso, Toros Y Toreros (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 14.75 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...
Category
1960s Cubist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Manon - Original lithograph (1897/98)
Located in Paris, IDF
Rene Xavier PRINET (1861 - 1946)
Manon
Original litograph
Printed signature in the plate
1897/98
On vellum 40 x 31 cm (c. 16 x 12")
INFORMATION : Published by 'Estampe Moderne, Par...
Category
1890s Art Nouveau Lithograph Figurative Prints
Materials
Lithograph
Picasso, Composition, Pablo Picasso, Toros Y Toreros (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 14.75 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...
Category
1960s Cubist Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
Composition, Éloge de André Lhote
By André Lhote
Located in Southampton, NY
Lithograph on vélin du Marais paper. Inscription: unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Éloge de André Lhote, 1960. P...
Category
1960s Modern Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
44% Off
Red-Haired Girl with Spread Legs
Located in Roma, IT
Red-Haired Girl with Spread Legs is a beautiful lithograph from the portfolio "Erotica" by Egon Schiele.
It is a reproduction of the homonym painting realized in gouache, watercolor,...
Category
Early 2000s Modern Lithograph Figurative Prints
Materials
Lithograph
Uses and Customs - Various Religion Orders - Lithograph - 1862
Located in Roma, IT
Uses and Customs - Various Religion Orders is a lithograph on paper realized in 1862.
The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History...
Category
1860s Modern Lithograph Figurative Prints
Materials
Lithograph
Zodiaco-Cancro - Lithograph by Ossi Czinner - 1980
By Ossi Czinner
Located in Roma, IT
Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects.
OSSI CZINNER - Central European artist, graphic designer an...
Category
1980s Contemporary Lithograph Figurative Prints
Materials
Lithograph
Melia Azedarach - Lithograph by Vincenzo Tenore - 1870s
Located in Roma, IT
Lithograph hand watercolored.
Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...
Category
1870s Modern Lithograph Figurative Prints
Materials
Lithograph
Composition, Cirque (Saphire, N° 44-106)
Located in Southampton, NY
Lithograph on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cirque, Lithographies Originales. Published by Les Éditions Verve, Paris, under the direction of Tériade, éditeur, Paris; printed by Mourlot Frères, Paris, October 5, 1950. Excerpted from the folio (translated from French), "Cirque" is entirely composed, handwritten text and illustrations, of original lithographs by Fernand Léger. This album was produced by Fernand Léger with the collaboration of Tériade and Marguerite Lang. It was completed printing on the presses de Mourlot Frères, on October 5, 1950, for Les Éditions Verve, Paris. The edition of this album includes two CCLXXX examples numbered from I to CCLXXX and XX hors-commerce examples. Numbered from I to XX. All examples, on vélin d'Arches, are signed by the artist [on the colophon].
Catalogue raisonné reference: Léger, F., & Saphire, L. (1978). Fernand Léger : the complete graphic work. Blue Moon Press, 44-106.
History of the edition: Cirque was originally conceived as a collaboration between Fernand Léger and the novelist Henry Miller. At a time when the two were interested in working together, the publisher Efstratios Tériade Léger approached Leger to make prints for an artist’s book. Tériade hoped to publish a series of such books with the circus as the theme. Léger was a circus enthusiast who often used circus images in his paintings. He often went to the Cirque Médrano in Paris and the Ringling Brothers and Barnum and Bailey Circus...
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph
$1,996 Sale Price
37% Off
Matisse, Mademoiselle A.N., Portraits par Henri Matisse (after)
Located in Fairfield, CT
Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued.
Year: 1954
Paper Size: 12 x 9.25 inches; image size: 6.69 x 7.87 inches
Inscription: Signed in the...
Category
1950s Modern Lithograph Figurative Prints
Materials
Lithograph
$716 Sale Price
20% Off
"Labor in a Diesel Plant" Machine Age American Scene Industrial Mid 20th Century
Located in New York, NY
"Labor in a Diesel Plant" Machine Age American Scene Industrial Mid 20th Century
Letterio Calapai (American 1902-1993)
''Labor in A Diesel Plant''
Wood engraving, 1940
17 x 10 1/2...
Category
1940s American Modern Lithograph Figurative Prints
Materials
Lithograph
Pablo Picasso Estate Hand Signed Cubist Lithograph Profile Young Woman Portrait
Located in Surfside, FL
Pablo Picasso (after)
"Sylvette De Profil Gauche"
limited edition print on Arches paper,
Hand signed by Marina Picasso lower right and numbered 329/500 lower left
From the estate of...
Category
20th Century Modern Lithograph Figurative Prints
Materials
Lithograph
Pink Flowers - Lithograph by Ivan Rabuzin - 1980s
By Ivan Rabuzin
Located in Roma, IT
Pink Flowers is a colored lithograph realized by Ivan Rabuzin .
Hand signed in pencil on the lower right corner. Numbered in pencil on the lower left corner.
Edition of 200 pr...
Category
1980s Contemporary Lithograph Figurative Prints
Materials
Lithograph
Uterus Diseases - Lithograph By Ottavio Muzzi - 1843
Located in Roma, IT
Uterus Diseases is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal,Human Anatomy, Printers Batelli and Ridolfi, realized in 1843.
Signed on plate on the ...
Category
1840s Modern Lithograph Figurative Prints
Materials
Lithograph
Lithograph figurative prints for sale on 1stDibs.
Find a wide variety of authentic Lithograph figurative prints available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add figurative prints created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of orange, blue, yellow, red and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Peter Max, Paul Gavarni, Marc Chagall, and Antonio Zezon. Frequently made by artists working in the Modern, Contemporary, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Lithograph figurative prints, so small editions measuring 0.04 inches across are also available
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