Post-Impressionist Figurative Prints

Héliogravure on vélin paper, mounted on vélin paper backing sheet, as issued. Paper Size: 12 x 9.25 inches; image size: 9.05 x 5.91 inches. Inscription: Unsigned and unnumbered, as i...

This art work titled "La Lettre" 1990 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and Inscribed E.A. (Epreuve d'Artist) in pencil by the artist. Referenced and pictured in the artist's catalogue raisonne by Mazo. plate #23. The image size is 29.75 x 22 inches, framed size is 42.5 x 32.75 inches. Custom framed in a wooden silver frame, with fabric matting and silver color spacer. It is in excellent condition. Please note that the color of the frame on picture #1 is more gold that it is in reality, refer to picture # 7 for exact color. About the artist: Jean-Pierre Cassigneul is a French painter known for his serene portraits of women in hats that recall the French Post-Impressionist avant-garde, including the works of Pierre Bonnard and Edouard Vuillard. He was born on July 13, 1935, in Paris. He studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, He exhibited at the Beaubourg Center in Paris in 1977 and solo as of 1952, on a regular basis in France but also in New York, and Tokyo and worldwide Jean PierreCassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. 1952 First private exhibition at the Galerie Lucy Kroge in Paris aged 17. 1954 Enters into the Académie Charpentier and then decides to study under Jean Souverbie at the Ecole des Beaux-Arts de Paris. 1955 He passes his entrance exam a year later and enrolls at the "Ecole Nationale Superieure" des Beaux-Arts de Paris. Works in Chapelain-Midy’s studio. 1958 First exhibition at the Galerie des Beaux-Arts. 1959 Appointed member of the Salon d’Automne. 1956–1960 Instructed by the French painter Roger Chapelain-Midy. 1963 Present at the Salon de la Jeune Peinture for the first time. 1964 Private exhibition at the Galerie Tivey-Faucon, Paris. Meets Kiyoshi Tamenaga, who becomes his art dealer for Japan. 1965 Creation of his first lithographic works. Exhibition at the Galerie Bellechasse, Paris. 1966 Present at the International Exhibition of Figurative Art, Tokyo. Exhibition at the Galerie Bellechasse, Paris. 1968 Exhibition at the Galerie Juarez in Palm Beach, USA. Private exhibition at la Galerie Vital, Paris. 1969 Exhibition of lithographic works at the Mitsukoshi Gallery, Tokyo. 1970 January : Exhibition at the Wally Findlay Gallery, Palm Beach, then in New York. First trip to Japan, where he stays for three months. Important private exhibition at the Mitsukoshi Gallery, Tokyo. 1973 Exhibition at the Wally Findlay Gallery in Palm Beach, then in New York. Private exhibition at the Tamenaga Gallery, Tokyo. Meets art publisher Alain Mazo. 1974 Private exhibition at the Galerie Wally Findlay, Paris, then in New York. 1975 Exhibition at the Wally Findlay Gallery, New York. 1976 Private exhibition at the Mitsukoshi Gallery, Tokyo. Publication of the album “Parcs” by Editions Mazo-Paris. 1977 June : Private exhibition at the Galerie René Kieffer, Paris Private show of paintings and pastels at the Galerie Wally Findlay, Paris. 1978 Retrospective exhibition of lithographic works at Vision Nouvelle. June-July : Exhibition at the Wally Findlay Gallery, New York. Important private showat the Mitsukoshi Gallery, Tokyo. 1980 Designs his first tapestry, executed by Atelier 3...

Héliogravure on vélin paper. Paper Size: 15 x 22.5 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Henri Matisse, Jazz, Sp...

Héliogravure on vélin paper. Paper Size: 15 x 22.5 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Henri Matisse, Jazz, Sp...

SOLD UNFRAMED The Four Seasons - Winter by Lélia Pissarro (b. 1963) Serigraph image size: 49.5 x 60 cm (19 ½ x 23 ⅝ inches) sheet size: 60.5 x 70 cm (23 ¾ x 27 ½ inches) Signed and numbered, 230/300 Printed in an edition of 300 Artist biography Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia Pissarro. She was raised, however, in the loving care of her grandparents Paulémile Pissarro, Camille’s youngest son, and his wife Yvonne, in Clécy, Normandy. From a young age, Lélia’s interest in drawing and painting was nurtured by her grandfather while she sat beside him at his easel, captivated. He taught her the fundamental Impressionist and Post-Impressionist techniques he had learnt from his father and brothers before him and watched as her skills blossomed rapidly. Standing readily on the shoulders of giants, Lélia sold her first painting to New York art dealer Wally Findlay, when she was only four years of age. When Lélia turned 11 she moved to Paris to live with her parents where, with the guiding support of her father’s teachings she began to broaden her skill sets. Under the watchful eye of her father Hughes Claude Pissarro, she became exposed to new environments and learnt to experiment with abstract styles and subjects. At age 14 Lélia submitted some of these works to the exhibition ‘Salon de la Jeune Peinture’ at the Luxembourg Museum in Paris. Being underage, however, she had to submit these works secretly under the pseudonym Rachel Manzana Pomié. With her parents dividing their time between France and California, Lélia found herself moving between Tours, Paris and San Francisco, all the while studying fine art and psychology at the University des Beaux Arts. She eventually settled in Paris to teach art at the Moria School and study oil painting conservation under the guidance of a teacher from the Louvre museum. During this time she began to present her work in solo exhibitions in Paris, Lyon, Mulhouse and Rennes. In 1988 Lélia married English art dealer David Stern and moved to London. Their three children Kalia, Lyora and Dotahn, all paved their own way in the art world. From 1995 Lélia participated in a series of exhibitions entitled Pissarro – The Four Generations, which were held in galleries in London, Tel Aviv, Boston, Austin, San Francisco, Cleveland, Milwaukee and Los Angeles as well as a number of museums in Japan in 1998 and the Museum of Art in Fort Lauderdale, Florida in 2000. In 1999 Lélia also became one of the founders of the Sorteval Press, a group of artists dedicated to developing techniques in etching and printmaking. Their first exhibition took place at the Mall Gallery in London. In 2005 following a long break in painting because of cancer, Lélia started a journey into modern art creating a number of different series: Circles, Shoes, Animals, exploring these until she reached the point of abstraction and minimalism. Developing innovative techniques, she began incorporating in her work new materials such as gold, wax and encaustic paint. To coincide with a major exhibition at Stern Pissarro gallery...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 18.75 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, L...

Lithograph on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Présence de Marquet, 1962. Pu...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 11.81 x 9.05 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 11.81 x 9.05 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

Pierre AMBROGIANI (1907-1985) Donkey Ride, 1974 Original Lithograph (Gourdon Workshop) Signed with the artist's stamp On vellum 38 x 28 cm (c. 14.9 x 11 in) Excellent condition

Henri de Toulouse-Lautrec Etude de Femme (Study of a Woman), 1893 is a lovely depiction of a nude subject delicately undressing at her bedside. She ap...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et a...

Signed and dated on plate. An early state on the 5 issued, with very fresh impression and marked contrasts, Includes passepartout (cm. 53x37). The American artist James Abbott McNei...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

This art work titled "La Douceur du Printemps" 1991 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and inscribe...

Color lithograph after the work by Henri Matisse, plate-signed by Matisse from the edition of 200. This lithograph was printed and published in 2007 in Paris using 100% cotton 300 g...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 18.75 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, L...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

Lithograph realized by Edouard Chimot in 1932. Belongs to the suite "Le Chat", in which the author classifies and represents pubic hairstyles that become progressively more surreal....

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 18.75 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, L...

This art work titled "Les Amoureux sur ub Banc" c.1980 is an original colors lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and numb...

This art work titled "Les Fausses Confidences" 1988 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and inscribe...

Max Klinger, 'Erinnerung' (Remembrance), original etching with aquatint, 1896. A fine, richly inked impression on off-white, wove paper, with full margins (1 3/4 to 3 1/8 inches), in...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et a...

Lithograph realized in 1970s, after the original work by Toulouse-Lautrec of 1896. Limited edition of 1000. Excellent condition.

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 18.75 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, L...

Sybil Andrews, 'Rue du Hallage - Rouen', color monotype, c. 1925, edition 3, proof 3. Signed 'Sybil Andrews pinx et imp' annotated 'No 3' and titled in pencil. Printed by the artist....

Héliogravure on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue A...

This artwork titled "Fete Champetre" c.1950 is an original colors lithograph by renown artist Jean Dufy, 1888-1964. It is hand signed and numbered 80/220 in pencil by the artist. The...

This aquatint is hand signed in pencil by the artist "Henri Matisse" at the lower right margin. It is also hand numbered in pencil 103 from the edition of 200, at the lower left marg...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Lithograph realized by Edouard Chimot in 1932. Belongs to the suite "Le Chat", in which the author classifies and represents pubic hairstyles that become progressively more surreal....

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Medium: Lithograph on vélin de Lana paper Year: 1950 Paper Size: 9.75 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Signac Dessins, 1950. Publi...

Maurice MARINOT (after) Montmartre : Dancing in Moulin de la Galette Color lithograph after a painting Printed signature in the plate On Arches Vellum 50 x 65 cm (c. 20 x 26 inch) ...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, TLautrec, 1946. ...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Lithograph realized by Edouard Chimot in 1932. Belongs to the suite "Le Chat", in which the author classifies and represents pubic hairstyles that become progressively more surreal....

Medium: Lithograph and stencil on vélin paper Year: 1954 Paper Size: 9.5 x 13.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Femmes de Lau...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 158-159, 1966. Published by...

Lithograph realized by Edouard Chimot in 1932. Belongs to the suite "Le Chat", in which the author classifies and represents pubic hairstyles that become progressively more surreal....

Henri ROUSSEAU (called Le Douanier ROUSSEAU) (after) The War Stone lithograph after a painting Printed signature in the plate Numbered /300 copies O...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, TLautrec, 1946. ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné reference: Matisse, ...

Couverture pour Douze Lithographies en Couleurs, ou Passage et Interieurs Color lithograph, 1896-1898 Unsigned (as issued) From: Douze Lithographies en Couleurs, ou Passage et Interi...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Etching with drypoint on cream wove paper, 11 3/4 x 13 3/4 inches (297 x 347 mm), full margins. Signed in pencil and numbered 32/40, lower margin. Minor mat tone and several small lo...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et a...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 9.75 x 12.5 inches; image size: 7.87 x 11.42 inches Inscription: Signed in the plate and unnumber...

Lithograph in fifteen colors on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Paper Size: 12.25 x 9.5 inches; image size: 9 x 7.25 inches. Notes: From the ...

Lithograph in fifteen colors on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Paper Size: 12.25 x 9.5 inches; image size: 8.875 x 7.25 inches. Notes: From ...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...