Post-Impressionist Figurative Prints

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...

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...

Femme qui se peigne - La Coiffureis a color lithograph realized after Henri de Toulouse Lautrec in 1896.  cm. 59 x 46 ; matted. Monogrammed on plate. Good conditions. This specim...

Sonia Delaunay Hommage a Sonia Delaunay pour son 90eme Anniversaire, 1975 Offset lithograph poster/flyer Plate signed Very rare; published in a limited edition of unknown quantity 1...

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 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....

Signed and dated on the plate. Utrillo was an important exponent of the Post-Impressionism. Perfect conditions. Passepartout included : 49 x 34 cm Image Dimensions : 12 x 9 cm This ...

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....

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...

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

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 on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Signed in the plate and u...

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 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 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 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....

Femme au Plateu - Le Petit Déjeuner (Madame Baron et Mademoiselle Popo) is a color lithograph realized by Henri de Toulouse Lautrec in 1896.  cm. 45,5 x 58, matted. Monogrammed in ...

Portrait of Marcelle is an artwork realized in the mid-20th Century after henri de Toulouse-Lautrec.  The artwork is a beautiful copy of the Portrait of Marcelle by Henri De Toulous...

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

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 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...

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....

Hand Signed in pencil lower right, titled lower left, inscribed “N°2”. On Chine Appliqué paper, one of only 10 known impressions Catalogue Prouté 1973 n.179. Prov. Paul Prouté, Paris...

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 and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie C, var. 7 (Series C, Variation 7), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie B, var. 7 (Series B, Variation 7), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

"King Pin" Pointillist Lithograph in Ink on Paper Detailed lithograph of a king on a bench by E.B. Rothewell (American, 1926-2011). A stylized portrait of a king, seated on a large bench. He is looking upwards, with a somewhat dejected expression, hands near his mouth. This piece is completely made from small dots (stippling) giving the subject the feel of a fantasy illustration...

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 on vélin d'Arches paper Year: 1966 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Soutine, I, Collect...

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 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....

Pochoir. Signed on plate. One of the beautiful illustrations realized by Paul Iribe for "Les Robes de Paul Poiret" in 1908. Passepartout included : 69 x 50 cm.

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

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

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 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....

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie C, var. 1 (Series C, Variation 1), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 9.5 x 12.5 inches; image size: 9.05 x 10.24 inches Inscription: Unsigned and unnumbered, as issued No...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Aquatint, Drypoint, Burnisher and Roulette. Image dimensions: 58x41 cm Monogram on plate - final state on 5. Edition of 450 prints, belonging to the suite “Miserere”, considered as ...

Medium: Lithograph on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Signed in the plate and u...

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...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie C, var. 2 (Series C, Variation 2), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie B, var. 4 (Series B, Variation 4), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie B, var. 6 (Series B, Variation 6), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Behind the scenes of the Folies Bergère. Lona Barrison is a modern artwork realized in the mid-20th century. Mixed colored lithograph after H. de Toulouse-Lautrec. Original title: ...

Jules CAVAILLES The Pilgrim Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 36 x 20 cm (c. 14 x 8 in) Excellent condition

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Deux portraits de femmes, medaillons pour la decoration du salon du bordel de la rue d'Amboise, Paris (T...

Medium: Lithograph on vélin d'Arches paper Year: 1966 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Soutine, I, Collect...

"Mlle Landsberg" (grade planche, pl. 16), 1914 Henri Matisse (French, 1869-1954) Signed and Numbered Lower Right Edition 12/15 Image size: 7 7/8 x 4 5/16 inches Sheet size: 17 11/16 x 12 1/2 inches With frame: 19 1/2 x 14 1/2 inches Henri Matisse came from a family who were of Flemish origin and lived near the Belgian border. At eight o'clock on the evening of December 31, 1869, he was born in his grandparents' home in the town of Le Cateau in the cheerless far north of France. His father was a self-made seed merchant who was a mixture of determination and tightly coiled tension. Henri had no clear idea of what he wanted to do with his life. He was a twenty-year-old law clerk convalescing from appendicitis when he first began to paint, using a box of colors given to him by his mother. Little more than a year later, in 1890, he had abandoned law and was studying art in Paris. The classes consisted of drawing from plaster casts and nude models and of copying paintings in the Louvre. He soon rebelled against the school's conservative atmosphere; he replaced the dark tones of his earliest works with brighter colors that reflected his awareness of Impressionism. Matisse was also a violinist; he took an odd pride in the notion that if his painting eye failed, he could support his family by fiddling on the streets of Paris. Henri found a girlfriend while studying art, and he fathered a daughter, Marguerite, by her in 1894. In 1898 he married another woman, Amelie Parayre. She adopted the beloved Marguerite; they eventually had two sons, Jean, a sculptor and Pierre who became an eminent art dealer. Relations between Matisse and his wife were often strained. He often dallied with other women, and they finally separated in 1939 over a model who had been hired as a companion for Mme. Matisse. She was Madame Lydia, and after Mme. Matisse left, she remained with Matisse until he died. Matisse spent the summer of 1905 working with Andre Derain in the small Mediterranean seaport of Collioure. They began using bright and dissonant colors. When they and their colleagues exhibited together, they caused a sensation. The critics and the public considered their paintings to be so crude and so roughly crafted that the group became known as Les Fauves (the wild beasts). By 1907, Matisse moved on from the concerns of Fauvism and turned his attention to studies of the human figure. He had begun to sculpt a few years earlier. In 1910, when he saw an exhibition of Islamic art, he was fascinated with the multiple patterned areas and adapted the decorative universe of the miniatures to his interiors. As a continuation of his interest in the "exotic", Matisse made extended trips to Morocco in 1912 and 1913. At the end of 1917, Matisse moved to Nice; he would spend part of each year there for the remainder of his life. A meticulous dandy, he wore a light tweed jacket amd a tie when he painted. He never used a palette, but instead squeezed his colors on to plain white kitchen dishes...

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....

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, 1848-19...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 9.05 x 6.3 inches Inscription: Signed in the plate and unnumbered...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 9.05 x 6.3 inches Inscription: Signed in the plate and unnumbered...

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...

"Some Town without a Name" - Signed Screen Print Exhibition Poster Screen Print titled "Some Town without a Name" by Masuo Ikeda (Japanese, 1934-1997). A black headshot is seen with blue ink by the mouth and enclosed in a blue rectangle. "Masuo Ikeda" can be seen printed up top, with a list of Ten Lithographs under. Signed in pencil "Masuo Ikeda" lower right and numbered "XXXlll" middle Presented in a white mat. Mat: 36"H x 28"W Paper: 26"H x 21"W Image: 25 1/2"H x 19 1/2"W Masuo Ikeda (Japanese, 1934 - 1997) was born in 1934. Masuo Ikeda is well known a Japanese painter, printmaker, illustrator, sculptor, ceramist, novelist, and film director. He started winning prize after prize in the 1960s: the Governor of Tokyo's Prize (1962), the Tokyo Museum of Modern Art Prize (1964). In 1961 he had established himself as a printmaker by winning the Grand Prize for Printmaking at the Tokyo International Biennale of Art, but it was in foreign parts that he achieved his greatest triumphs: in 1961 the Prix d'Excellence at the Young Artists' International Biennale in Paris; in 1965 the Grand Prix at the International Print-making Biennale in Ljubljana; in 1966, the First Prize at the International Engraving Biennale in Cracow, and first prizes at the Biennales of Vienna and Venice, where he was only the second Japanese to win in this category, after Munakata Shiko in 1956. He was the first Japanese to have a one-man show at the New York Museum of Modern Art (1965). He was always on the move and spent two years in New York (1965-66), then settled for a year in Berlin (1967). Ikeda was producing prints in his studio in New York from 1969, he returned to Japan in 1980 and was based there from then on, and extended his brilliant talent beyond printmaking. In 1977, he won the 77th Akutagawa Prize (the most prestigious literary award in Japan) for his novel, Offering in the Aegean, and directed the film adaptation of the same title in 1979. His vigorous artistic activity even extended to the production of ceramic works from around 1983 onward. The Ikeda Masuo...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 13 x 17 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...

Femme sur le Dos - Lassitude is a color lithograph realized by Henri de Toulouse Lautrec in 1896.  cm. 58 x 45, matted.  Monogrammed on plate. Good conditions. This specimen belo...