Items Similar to Saint-Tropez-Le Port
Want more images or videos?
Request additional images or videos from the seller
1 of 11
Paul SignacSaint-Tropez-Le Port1897
1897
About the Item
Saint-Tropez-Le Port
Color lithograph, 1897-1898
Signed in pencil lower right (see photo)
Numbered in pencil lower right: No. 68 (see photo)
From: Album des Peintres-Gravures, 1898
Published by Ambrose Vollard, Paris
Printer: Auguste Clot, Paris
Edition: 100
Numbered: No. 68
Reference: Una Johnson, Vollard, No. 188, reproduced pale 35
Kornfeld & Wick, No. 19 b/b
Condition: Very fresh colors
One tiny spot in the upper margin above the image (see photo)
Image size: 17 1/8 x 13 inches
Frame size: 32 3/4 x 27 1/4 inches
Archival framing by Galerie Maximilian, Aspen, CO
Museum glass
22K Gold leaf hand carved frame
The artist's most famous print. Illustrated in Adhemar and Johnson
Impressions can be found in the following museums:
Metropolitan Museum of Art
National Gallery of Art, Washington
Philadelphia Museum of Art
McNay Art Museum, San Antonio
Clark Institute, Williamstown, MA
Saint Louis Art Museum
National Gallery of Victoria
High Art Museum, Atlanta
Nelson Atkins Museum of Art, Kansas City, MO
National Gallery of Canada
Museum of Modern Art, New York
Cleveland Museum of Art
Cincinnati Art Museum
"Paul Signac depicted the old port of St. Tropez, in southern France, from the harbor. The scene glistens in an effect achieved with small dots of unmixed color and, significantly, the white of the paper. The tower of the village church, Nôtre-Dame-de-l’Assomption, rises in the background amid clouds that are made only of the paper itself.
The artist was among the most articulate proponents of the movement now known as Neo-Impressionism, in which color was applied to canvas or paper in small, individual units. It is the role of the viewer’s eye and brain, rather than the painter with his brush, to complete the blending of the hues. Signac drew the image on specially prepared transfer paper, which the printer would have transferred to a series of stones, one for each color." Courtesy Saint Louis Art Museum
- Creator:Paul Signac (1863-1935, French)
- Creation Year:1897
- Dimensions:Height: 17.13 in (43.52 cm)Width: 13 in (33.02 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1978
1stDibs seller since 2013
711 sales on 1stDibs
Typical response time: 1 hour
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: Akron, OH
- Return PolicyA return for this item may be initiated within 10 days of delivery.
More From This SellerView All
- Saint TropezBy André Dunoyer de SegonzacLocated in Fairlawn, OHSaint Tropez Etching with aquatint, printed in colors, 1964 Signed in ink and numbered in pencil Edition: 71/100 Issued for the album St. Tropez et la Provence, in 1966 Reference: Lo...Category
1960s Post-Impressionist Landscape Prints
MaterialsEtching
- BougivalBy Maurice de VlaminckLocated in Fairlawn, OHBougival Woodcut, 1914 Signed and numbered in pencil Edition 30, this numberd 22 Printed on laid Van Gelder Zonen paper Published by Henri Kanweiler, Paris Printed by Paul Birault, Paris Bougival is located west of Paris, on the left bank of the River Seine. This woodcut was inspired by Vlaminck's 1905 Fauvist masterpiece of the same title in the collection of the Detroit Institute of Art. An impression of this image is in the Yale Univeristy Art Gallery, Condition: Very slight sun staining, otherrwise very good Image/block size: 13 1/4 x 16 1/4 inches Sheet size: 19 1/8 x 22 1/8 inches Reference: Walterskirchen 11b Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse, he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense colour.] Vlaminck was one of the Fauves at the controversial Salon d'Automne exhibition of 1905. Life Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. His father Edmond Julien was Flemish and taught violin and his mother Joséphine Caroline Grillet came from Lorraine and taught piano His father taught him to play the violin.[3] He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Île de Chatou In 1894 he married Suzanne Berly. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23 and already active in anarchist circles in Paris, met an aspiring artist, André Derain, with whom he struck up a lifelong friendship.] When Vlaminck completed his army service in 1900, the two rented a studio together, the Maison Levanneur, which now houses the Cneai,[6] for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain. He painted during the day and earned his livelihood by giving violin lessons and performing with musical bands at night. Vlaminck participated in the controversial 1905 Salon d'Automne exhibition. After viewing the boldly colored canvases of Vlaminck, Henri Matisse, André Derain, Albert Marquet, Kees van Dongen, Charles Camoin, and Jean Puy, the art critic Louis Vauxcelles disparaged the painters as "fauves" (wild beasts), thus giving their movement the name by which it became known, Fauvism. In 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with Derain in Marseille and Martigues. In World War I he was stationed in Paris, and began writing poetry. Eventually he settled in Rueil-la-Gadelière, a small village south-west of Paris. He married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along the Seine, near Paris. Resentful that Fauvism had been overtaken by Cubism as an art movement Vlaminck blamed Picasso "for dragging French painting into a wretched dead end and state of confusion". During the Second World War, Vlaminck visited Germany and on his return published a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. Vlaminck wrote many autobiographies. Vlaminck died in Rueil-la-Gadelière on 11 October 1958. Artistic career Two of Vlaminck's groundbreaking paintings, Sur le zinc (At the Bar) and L'homme a la pipe (Man Smoking a Pipe) were painted in 1900. For the next few years Vlaminck lived in or near Chatou (the inspiration for his painting houses at Chatou), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. At this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh. Sur le zinc called to mind the work of Toulouse-Lautrec and his portrayals of prostitutes and solitary drinkers, but does not attempt to probe the sitter's psychology—a break with the century-old European tradition of individualized portraiture. According to art critic Souren Melikian, it is "the impersonal cartoon of a type. In his landscape paintings, his approach was similar. He ignored the details, with the landscape becoming a vehicle through which he could express mood through violent colour and brushwork. An example is Sous bois, painted in 1904. The following year, he began to experiment with "deconstruction," turning the physical world into dabs and streaks of colour that convey a sense of motion. His paintings Le Pont de Chatou (The Chatou Bridge), Les Ramasseurs de pommes de terre (The Potato Pickers...Category
1910s Fauvist Landscape Prints
MaterialsWoodcut
- Arch of the Pont Neuf, ParisBy Sir Frank BrangwynLocated in Fairlawn, OHArch of the Pont Neuf, Paris Etching on heavy wove paper, 1923 Signed in pencil lower right (see photo) From: Brangwyn Portfolio (12 original etchings and thr...Category
1920s Post-Impressionist Landscape Prints
MaterialsEtching
- New York BouquetBy Childe HassamLocated in Fairlawn, OHNew York Bouquet Lithograph, 1917 Edition: 93 Signed with the artist's cipher in pencil lower right (see photo) This lithograph is inspired by Hassam's oil painting of the same title...Category
1910s American Impressionist Landscape Prints
MaterialsLithograph
- Poplar Tree BBy Shiko MunakataLocated in Fairlawn, OHPoplar Tree B Lithograph, c. 1959 Signed and numbered in pencil by the artist (see photo) Artist's red stamp lower left margin (see photo) Edition: 50 (30/50) Printed by Arthur Flory...Category
1950s Modern Landscape Prints
MaterialsLithograph
- St. George Hotel SearchlightBy Adolf DehnLocated in Fairlawn, OHSt. George Hotel Searchlight Lithograph, 1930 Signed in pencil lower right (see photo) Titled lower left (see photo) Edition: 30 Printed by Meister Schulz, Berlin The image depicts t...Category
1930s American Modern Landscape Prints
MaterialsLithograph
You May Also Like
- untitled, farm scene with wheat bundlesLocated in Belgrade, MTThis lithograph is part of my private collection from the 20th Century School of Paris. It is original, pencil signed and numbered by the artist. Guilde de la Gravure. It is in very...Category
Mid-20th Century Post-Impressionist Landscape Prints
MaterialsLithograph, Paint
- Miss Ida HeathLocated in Columbia, MOHENRI DE TOULOUSE-LAUTREC La Loge au mascaron doré 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inchesCategory
19th Century Post-Impressionist Figurative Prints
MaterialsLithograph
- Amazone et TonneauLocated in Columbia, MOHENRI DE TOULOUSE-LAUTREC Amazone et Tonneau 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inchesCategory
19th Century Post-Impressionist Figurative Prints
MaterialsLithograph
- La Loge au Mascaron DoréLocated in Columbia, MOHENRI DE TOULOUSE-LAUTREC La Loge au mascaron doré 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inchesCategory
19th Century Post-Impressionist Figurative Prints
MaterialsLithograph
- Blanche et NoireLocated in Columbia, MOHENRI DE TOULOUSE-LAUTREC Blanche et Noire 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inchesCategory
19th Century Post-Impressionist Figurative Prints
MaterialsLithograph
- La PassagéreLocated in Columbia, MOHENRI DE TOULOUSE-LAUTREC La Passagère 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inchesCategory
19th Century Post-Impressionist Figurative Prints
MaterialsLithograph