Post-Impressionist Prints and Multiples
POSTIMPRESSIONIST STYLE
In the revolutionary wake of Impressionism, artists like Vincent van Gogh, Georges Seurat, Paul Cézanne and Paul Gauguin advanced the style further while firmly rejecting its limitations. Although the artists now associated with Postimpressionist art did not work as part of a group, they collectively employed an approach to expressing moments in time that was even more abstract than that of the Impressionists, and they shared an interest in moving away from naturalistic depictions to more subjective uses of vivid colors and light in their paintings.
The eighth and final Impressionist exhibition was held in Paris in 1886, and Postimpressionism — also spelled Post-Impressionism — is usually dated between then and 1905. The term “Postimpressionism” was coined by British curator and art critic Roger Fry in 1910 at the “Manet and the Postimpressionists” exhibition in London that connected their practices to the pioneering modernist art of Édouard Manet. Many Postimpressionist artists — most of whom lived in France — utilized thickly applied, vibrant pigments that emphasized the brushstrokes on the canvas.
The Postimpressionist movement’s iconic works of art include van Gogh’s The Starry Night (1889) and Seurat’s A Sunday on La Grande Jatte (1884). Seurat’s approach reflected the experimental spirit of Postimpressionism, as he used Pointillist dots of color that were mixed by the eye of the viewer rather than the hand of the artist. Van Gogh, meanwhile, often based his paintings on observation, yet instilled them with an emotional and personal perspective in which colors and forms did not mirror reality. Alongside Mary Cassatt, Cézanne, Henri Matisse and Gauguin, the Dutch painter was a pupil of Camille Pissarro, the groundbreaking Impressionist artist who boldly organized the first independent painting exhibitions in late-19th-century Paris.
The boundary-expanding work of the Postimpressionist painters, which focused on real-life subject matter and featured a prioritization of geometric forms, would inspire the Nabis, German Expressionism, Cubism and other modern art movements to continue to explore abstraction and challenge expectations for art.
Find a collection of original Postimpressionist paintings, mixed media, prints and other art on 1stDibs.
Style: Post-Impressionist
Color: Orange
Pierre Bonnard ltd edition Lithograph Printed at Mourlot Paris 1958 Chicken, Egg
Located in Surfside, FL
This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928.
This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960
These are not individually hand signed or numbered.
On BFK Rives French velin art paper
Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.
Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse.
He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist.
From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married.
In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.
Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.
During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes.
In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales, with the face of his friend Vuillard, who had died two years earlier. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capoue near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday.
Bonnard particularly used the model of Japanese art in a series...
Category
20th Century Post-Impressionist Prints and Multiples
Materials
Lithograph
'Hostellerie des Chiens du Guet' — 1920s British Impressionism
Located in Myrtle Beach, SC
Sybil Andrews, 'Hostellerie des Chiens du Guet', color monotype, c. 1925; edition 2, proof 1. Signed 'Sybil Andrews pinx et imp' and titled in pencil. A superb, painterly impression, with fresh colors, on heavy cream wove paper; the full sheet with margins (5/8 to 1 3/4 inches). Printed by the artist. The artist’s original archival mounting tape remains in the four sheet corners, recto (well away from the image), in excellent condition. Matted to museum standards, unframed. A unique impression.
Image size 8 15/16 x 11 15/16 inches (227 x 303 mm); sheet size 12 1/4 x 15 1/2 inches (311 x 394 mm).
ABOUT THIS WORK
In addition to her almost 80 celebrated modernist color linocuts, Sybil Andrews also worked in the monotype technique. She typically produced two or three impressions (or pulls) from each hand-painted plate, each proof unique in its qualities of color values and vibrancy. In 1933, Sybil Andrews and Cyril Power had an exhibition of their color monotypes and linocuts at the Redfern Gallery. Most of Andrews' monotypes were destroyed by a fire in an Ottawa gallery in 1959, and they now rarely come to the market.
ABOUT THE IMAGE
The Hostellerie des Chiens du Guet is a small hotel at the edge of...
Category
1920s Post-Impressionist Prints and Multiples
Materials
Monotype
Pierre Bonnard Lithograph Printed at Mourlot Paris 1958 Mosque Minaret, Swan
Located in Surfside, FL
This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928.
A mosque with a minaret with an Arab standing at its top, and a bird, I believe a swan, flying by.
This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960
These are not individually hand signed or numbered.
On BFK Rives French velin art paper
Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.
Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse.
He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist.
From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married.
In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.
Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.
During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes.
In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales...
Category
20th Century Post-Impressionist Prints and Multiples
Materials
Lithograph
Soldiers - Lithograph by Luc-Albert Moreau - Early 20th Century
Located in Roma, IT
Soldier is an Lithograph on ivory-colored paper realized by Luc Albert Moreau.
The artwork is in good condition.
Hand-signature on the lower right corner, numbered on the left.
Lu...
Category
Early 20th Century Post-Impressionist Prints and Multiples
Materials
Lithograph
May Milton - Litho After H. de Toulouse-Lautrec
Located in Roma, IT
Image dimensions: 29 x 20 cm.
May Milton is a beautiful chromolithographed Art Nouveau poster, monogrammed and dated on plate on the lower left margin by the French artist Henri de Toulouse-Lautrec.
A wonderful reduction of the famous Moulin Rouge poster...
Category
1950s Post-Impressionist Prints and Multiples
Materials
Lithograph
La Gitane de Richepin - Litho After H. de Toulouse-Lautrec
Located in Roma, IT
Image dimensions: 26.5 x 20.5 cm.
La Gitane de Richepin is a chromolithographed poster, monogrammed on plate on the lower right margin by the French bohemian artist Henri de Toulouse-Lautrec...
Category
1950s Post-Impressionist Prints and Multiples
Materials
Lithograph
'Woman in a Kimono', Paris, Louvre, Salon d'Automne, Académie Chaumière, LACMA
Located in Santa Cruz, CA
Estate stamped, verso, for Victor Di Gesu (American, 1914-1988) and created circa 1950.
A substantial monotype and gouache showing a young woman seated, her kimono fallen open and b...
Category
1950s Post-Impressionist Prints and Multiples
Materials
Monotype, Gouache, Paper, Graphite
'Provençal Landscape', French Post-Impressionist, Benezit, Academie Chaumiere
Located in Santa Cruz, CA
Signed lower right, 'Georges Lambert' (French, 1919-1998), titled lower center 'Village Provençal' and inscribed lower left 'Epreuve d'Artiste'.
A vibrant Artist's Proof, stone lith...
Category
1960s Post-Impressionist Prints and Multiples
Materials
Lithograph, Paper
Pierre Bonnard ltd edition Lithograph Printed at Mourlot Paris 1958 Double Page
Located in Surfside, FL
This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928.
This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960
These are not individually hand signed or numbered.
On BFK Rives French art paper
Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.
Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse.
He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist.
From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married.
In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.
Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.
During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes.
In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales, with the face of his friend Vuillard, who had died two years earlier. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capoue near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday.
Bonnard particularly used the model of Japanese art in a series...
Category
20th Century Post-Impressionist Prints and Multiples
Materials
Lithograph
Pierre Bonnard Ltd Ed Lithograph Printed at Mourlot Paris 1958 Father and Son
Located in Surfside, FL
This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928.
This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960
These are not individually hand signed or numbered.
On BFK Rives French velin art paper
Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.
Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse.
He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist.
From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married.
In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.
Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.
During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes.
In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales, with the face of his friend Vuillard, who had died two years earlier. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capoue near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday.
Bonnard particularly used the model of Japanese art in a series...
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20th Century Post-Impressionist Prints and Multiples
Materials
Lithograph
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Located in Santa Cruz, CA
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1960s Post-Impressionist Prints and Multiples
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Printed signature
Di...
Category
1940s Post-Impressionist Prints and Multiples
Materials
Lithograph
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Located in Santa Cruz, CA
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'Village du Var, Côte d'Azur', Academie Chaumiere, France, Benezit
Located in Santa Cruz, CA
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Georges Lambert first stu...
Category
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"Hayrolls In The Lavender" Contemporary Impressionist Serigraph of Provence
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Category
2010s Post-Impressionist Prints and Multiples
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'Still Life of Tulips', Ecole des Beaux-Arts Nantes, Musée d'Art Moderne, Paris
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Located in Santa Cruz, CA
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Category
Mid-20th Century Post-Impressionist Prints and Multiples
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Located in Santa Cruz, CA
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Born in 1930 near Saint-Tropez, Victor Zarou first studied with his father, Tony Cardella, the Impressionist artist. Zarou painted avidly from a young age, first exhibiting and selling his work at the age of twelve. After two years of military service, spent as a paratrooper, Zarou moved to Paris in 1955 to study at the Academie Julian...
Category
1960s Post-Impressionist Prints and Multiples
Materials
Paper, Lithograph
'Provençal Landscape', Post-Impressionist, Academie Chaumiere, Paris Salon
Located in Santa Cruz, CA
Signed lower right, 'Georges Lambert' (French, 1919-1998), titled lower center 'Landscape' and inscribed lower left, number and limitation, 'XV/LX' (15/60).
Georges Lambert first st...
Category
1960s Post-Impressionist Prints and Multiples
Materials
Paper, Lithograph
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Elmyr de Hory (born Elemér Albert Hoffmann; Budapest, 1906 – Ibiza, 1976) was a Hungarian-born painter and art forger, who is said to have sold over a thousand art forgeries to reputable art galleries all over the world. His forgeries garnered celebrity from a Clifford Irving book, Fake (1969); a documentary essay film by Orson Welles, F for Fake (1974); and a biography by Mark Forgy, The Forger's Apprentice: Life with the World's Most Notorious Artist (2012).
De Hory claimed that he was born into an aristocratic family, that his father was an Austro-Hungarian ambassador and that his mother came from a family of bankers. However, subsequent investigation has suggested that de Hory's childhood was, more likely, of a middle-class variety; he was born Elemér Albert Hoffmann on April 14, 1906. (An acquaintance, Fernand Legros, said that de Hory was born in Budapest (Hungary) 14 April 1905, but that de Hory would change the date to 1914 to appear younger. Both his parents were Jewish. His father's occupation was listed as "wholesaler of handcrafted goods." His parents did not divorce when he was sixteen, as he had asserted in the Clifford Irving biography. At the age of 16, he began his formal art training in the Hungarian art colony of Nagybánya (now in Romania). At 18, he joined the Akademie Heinmann art school in Munich, Germany, to study classical painting. In 1926 he moved to Paris and enrolled in the Académie la Grande Chaumière, where he studied under Fernand Léger. By the time he concluded his traditional education in Paris in 1928, the focus of his studies in figurative art had been eclipsed by Fauvism, Expressionism, Cubism and other nontraditional movements, all of which made his art appear passé, out of step with new trends and public tastes. This harsh reality and the economic shock waves of the Great Depression dimmed any prospects of his making a living from his art. New evidence (Geneva police records) indicates charges and arrests for minor crimes during the late 1920s and '30s. He returned to Hungary at the outbreak of the Second World War. Shortly after, he became involved with a British journalist and suspected spy. This friendship landed him in a Transylvanian prison for political dissidents in the Carpathian Mountains. During this time, de Hory befriended the prison camp officer by painting his portrait. Later, during the Second World War, de Hory was released. Within a year, de Hory was imprisoned in a German concentration camp for being both a Jew and a homosexual. He was severely beaten and was transferred to a Berlin prison hospital, from which he escaped. He returned to Hungary, and it was there, he said, that he learned that his parents had been killed and their estate confiscated. However, according to Mark Forgy's account, both de Hory's mother and brother were listed as Holocaust survivors.
On arriving in Paris after the war, de Hory attempted to make an honest living as an artist, but soon discovered that he had an uncanny ability to copy the styles of noted painters. In 1946, he sold a pen-and-ink drawing to a British woman who mistook it for an original work by Pablo Picasso. His financial desperation trumped his scruples, as was most often the case for the next two decades. To his mind, it offered redemption from the starving artist scenario, buttressed by the comfortable rationalization that his buyers were getting something beautiful at "friendly" prices. He began to sell his Picasso pastiches to art galleries around Paris, claiming that he was a displaced Hungarian aristocrat and his offerings were what remained from his family's art collection or else that he had acquired them directly from the artist, whom he had known during his years in Paris.
That same year, de Hory formed a partnership with Jacques Chamberlin, who became his art dealer. They toured Europe together, selling the forgeries until de Hory discovered that, although they were supposed to share the profits equally, Chamberlin had kept most of the profits. De Hory ended the relationship and resumed selling his fakes on his own. After a successful sale of drawings in Sweden, he bought a one-way ticket for Rio de Janeiro in 1947. There, living from the sales of his fakes, he resumed creating his own art, though the sales of his portraits, landscapes, and still-lifes in his own avant-garde style did not bring in the kind of money he had become accustomed to from his newly created master works.
In August 1947 he visited the United States on a three-month visa and decided to stay there, moving between New York City, Los Angeles, Miami, and Chicago for the next twelve years. De Hory expanded his forgeries to include works in the manner of Henri Matisse, Amedeo Modigliani and Renoir. When some of the galleries de Hory had sold his forgeries to were becoming suspicious, he began to use pseudonyms and to sell his work by mail order. Some of de Hory's many pseudonyms included Louis Cassou, Joseph Dory, Joseph Dory-Boutin, Elmyr Herzog, Elmyr Hoffman and E. Raynal. (Fernand Legros listed de Hory's pseudonyms; "Elmyr de Hory, Elmer Hoffman, Elementer alias Hofman, baron de Hory, Haury, Hury or Hurry, Hory, baron Raynal, Raynor, Raynol or Rainol, comte de Herzog, baron de Boughady, von Bonhyday, Boundjy, Elmyr Lazlo, Dauray, Dory, Boutin, Dory-Boutin, Cassou Robert or Cassou Charles, Louis Curiel or Curiel Charles).
His success came to a halt in Boston after he sold one of his "Matisse" drawings to the Fogg Museum at Harvard University in the mid 1950s. Shortly after its sale, he offered a "Modigliani" and a "Renoir" drawing from his collection. An alert curator noticed a stylistic similarity among the three drawings and refused to buy his subsequent offerings. She then began contacting other institutions and galleries, asking if they knew or had purchased artworks from the debonair E. Raynal. The American art network was now aware of the suave collector and seller of dubious works by modern masters.
In 1955, de Hory sold several forgeries to Chicago art dealer Joseph W. Faulkner, who later discovered they were fakes. Faulkner pressed charges against de Hory and initiated a federal lawsuit against him, alleging mail and telephone fraud. De Hory later moved to Mexico City, where he was briefly detained and questioned by the police, not for his artistic endeavors but regarding his connection to a suspect in the murder of a British man, whom de Hory claimed he had never met. When the Mexican police attempted to extort money from him, de Hory hired a lawyer, who also attempted to extort money from him by charging exorbitant legal fees. De Hory paid the lawyer with one of his forgeries and returned to the USA.
On his return, de Hory discovered that his paintings were fetching high prices at several art galleries, and he was incensed that the galleries had only paid him a fraction of what they thought the paintings were worth. It is estimated that all de Hory forgeries were sold for more than $50 million in today's value. Further compounding de Hory's plight was that the manner of his forgeries had become recognizable, and he was now a person of interest to the FBI. This unwanted attention may have prompted de Hory to temporarily abandon his fakery and resume creating his own artwork once more. This led him to an ascetic existence in a low-rent apartment near Pershing Square in Los Angeles. Here, he had limited success, mostly selling paintings of pink poodles to interior decorators. However, his self-imposed exile was not to his liking. He decided to return to the East Coast and try his luck once more at his illicit craft, for which he always found an eager buyer—eventually. In Washington, D.C., de Hory began an ill-fated association with a picture dealer that ended in disaster.
In 1959, suffering from depression, he attempted suicide by overdosing on sleeping pills. A friend rescued him and called an ambulance. His stomach was pumped, and after a stay in the hospital de Hory convalesced in New York City, helped by an enterprising young man, Fernand Legros. Legros' account of his dealings with de Hory differs substantially from de Hory's own. He portrays de Hory as an aggressive and persistent con man, who suckers Legros into the belief that he is a needy impoverished aristocrat deserving of Legros's charity, whereas in reality he is a person wanted by Interpol under a multitude of different aliases and convicted of a variety of crimes, forgery and fraud being not the least of them; de Horys is object of pursuits, convictions and expulsions from France, Switzerland, Italy, Federal Germany, Great Britain, from Mexico, from the United States, from Canada, for false check writing without funds, check forgery, forgery carrying a false name, theft, receiver and purveyor of stolen goods, and embezzlement.
In de Hory's account, Legros accompanied de Hory back to Miami where he continued to regain his health. When he imprudently took Legros into his confidence, the other man quickly recognized an opportunity and importuned the artist to let him sell his work in exchange for a 40% cut of the profits, with Legros assuming all the risks inherent in the sale of forgeries. With Legros, de Hory again toured the United States. In time, Legros demanded his cut be increased to 50%, when in reality Legros was already keeping much of the profit. On one of these trips Legros met Réal Lessard, a French-Canadian who later became his gay lover. The two had a volatile relationship, and in late 1959 de Hory decided to leave the two and return to Europe.
In Paris, de Hory unexpectedly ran into Legros. De Hory revealed to him that some of his forgeries were still back in New York. According to de Hory, Legros devised a plan to steal the paintings and sell them, making a name for himself and his art gallery in the process. Later that year, de Hory's account continues, Legros persuaded de Hory to resume their partnership. Legros and Lessard would continue to sell de Hory's work and agreed to pay him a flat fee of $400 a month, enough to guarantee de Hory a comfortable and risk-free life in his newfound home, the Spanish Mediterranean island of Ibiza. De Hory always denied that he had ever signed any of his forgeries with the name of the artist whom he was imitating. This is an important legal matter, since painting in the style of an artist is not a crime—only signing a painting with another artist's name makes it a forgery. This may be true, as Legros may have signed the paintings with the false names.
De Hory continued to elude the police for some time but, tired of life in exile, decided to move back to Ibiza to accept his fate. In August 1968, a Spanish court convicted him of the crimes of homosexuality, showing no visible means of support, and consorting with criminals (Legros), sentencing him to two months in prison in Ibiza. He was never directly charged with forgery because the court could not prove that he had ever created any forgeries on Spanish soil. He was released in October 1968 and expelled from Ibiza for one year. During that time he resided in Torremolinos, Spain. One year following his release, de Hory, by then a celebrity, returned to Ibiza. He told his story to Clifford Irving, who wrote the biography Fake! The Story of Elmyr de Hory the Greatest Art Forger of Our Time. De Hory appeared in several television interviews and was featured with Irving in the Orson Welles documentary F for Fake (1973). In Welles's film, de Hory questioned what it was that made his forgeries inferior to the actual paintings created by the artists he imitated, particularly since they had fooled so many experts and were always appreciated when it was believed that they were genuine. In F for Fake, Welles also poses questions about the nature of the creative process, how trickery, illusion, and duplicity often prevail in the art world, and thus, in some respects, downplays the culpability of the art forger de Hory and outliers like him.
During the early 1970s, de Hory again decided to try his hand at painting, hoping to exploit his newfound fame: this time, he would sell his own, original work. While he had gained some recognition in the art world, he made little profit, and he soon learned that French authorities were attempting to extradite him to stand trial on fraud charges. This took quite some time, as Spain and France had no extradition treaty at that time.
On December 11, 1976, de Hory's live-in bodyguard and companion Mark Forgy informed him that the Spanish government had agreed to extradite de Hory to France. Shortly thereafter, de Hory took an overdose of sleeping pills, and asked Forgy to accept his decision and not intervene or prevent him from taking his life. However, Forgy later went for help to take de Hory to a local hospital, though en route he died in Forgy's arms. Clifford Irving has expressed doubts about de Hory's death, claiming that he may have faked his own suicide in order to escape extradition, but Forgy has dismissed this theory.
While de Hory's self-invention was a purposeful intent to deceive, the absence of historical evidence throughout much of his saga invites suspicion of this enigmatic man. There is no verifiable record of his whereabouts during those years between 1940 and 1945 that confirm or deny his account of prison camp internment by the Nazis or the Russians as he claimed in Clifford Irving's 1969 biography Fake. Stories about the lives and fates of immediate family members have been debunked. What further confuses de Hory's fictional universe is the recent research that has corroborated many of his claims. For example, one eyewitness, Charles Gee, has emerged. He rescued de Hory from his first suicide attempt in Washington, D.C., and confirmed his long-standing friendship with Hungarian actress-celebrity Zsa Zsa Gabor (an association she allegedly denied according to Clifford Irving) and de Hory's story about his New York encounter with Salvador Dali, among others.
De Hory's dubious distinction as an accomplished forger gave him the fame and name recognition he long desired. One offshoot of his notoriety he never anticipated was the wealth of fake “Elmyrs” that has flooded the marketplace since his death in 1976, demonstrating the relentless resourcefulness of fraudsters and the inherent irony of this largely undetected scam. It is unsurprising that De Hory's odyssey is used as a template by fellow art criminals. What he and they have had in common is alacrity in the exploitation and profiteering that a mostly unregulated art market affords on both sides of the legal divide
A character based on Hory appears in the incomplete final Herge Tintin...
Category
20th Century Post-Impressionist Prints and Multiples
Materials
Lithograph
May Belfort - Original Litho After H. de Toulouse-Lautrec
Located in Roma, IT
Image dimensions: 27 x 19.5 cm.
May Belfort is a chromolithograph (of 4 colors) poster on wove paper, realized by the French bohemian artist Henri de Toul...
Category
1950s Post-Impressionist Prints and Multiples
Materials
Lithograph
H 12.6 in W 9.45 in D 0.08 in
Confetti - Original Litho After H. de Toulouse-Lautrec
Located in Roma, IT
Image dimensions: 22 x 15.8 cm.
Confetti is a chromolithograph (of 4 colors) poster, realized by the French bohemian artist Henri de Toulouse-Lautrec (1864-1901).
Monogram on plate...
Category
1950s Post-Impressionist Prints and Multiples
Materials
Lithograph
H 12.6 in W 9.38 in D 0.08 in
Minuit!.. ou l'appartement à la mode - Original Pochoir by G. Barbier - 1920
Located in Roma, IT
Pochoir
This is one of the artworks in the portfolio 'Le Bonheur du Jour', by George Barbier.
Image dimensions: 21x32 cm.
Passepartout included : 49 x 34 cm
This artwork is shipped ...
Category
1920s Post-Impressionist Prints and Multiples
Materials
Stencil
H 12.41 in W 17.52 in D 0.04 in
Post-impressionist prints and multiples for sale on 1stDibs.
Find a wide variety of authentic Post-Impressionist prints and multiples available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add prints and multiples created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of orange, blue, purple, yellow and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Luc-Albert Moreau, Henri Matisse, (after) André Derain, and Maria Bertrán. Frequently made by artists working with Lithograph, and Etching and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Post-Impressionist prints and multiples, so small editions measuring 3.55 inches across are also available. Prices for prints and multiples made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $50 and tops out at $250,000, while the average work sells for $761.
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