Alfred Boulot Art

Julian Trevelyan 1910-1988 Thames Ditton, 1969 etching and aquatint 41 x 55 cm 16 1/8 x 21 5/8 in signed, titled and inscribed in pencil, aside from the edition of 75 Julian Trevely...

"Sanity Hearing" Satirical Etching Satirical etching by Charles Bragg (American, 1931-2017). This scene depicts a chaotic courtroom, ostensibly the location of this "Sanity Hearing." A man wearing a suit of armor sits with his hand raised taking an oath of honesty on top of three books labeled "Bible," "Holy Bible," and "Cookbook." The judge sits behind him, holding a fly swatter with a glass tankard of beer in front of him. A man in the bottom right corner reads the Bill of Rights but he holds it upside down. Other guests of the courtroom include multiple kittens, a man gnawing on the bench, and a toucan on a leash. Numbered as "104/300" in bottom left corner. Titled "Sanity Hearing" in center edge. Signed "Charles Bragg" in bottom right corner. Frame size: 20.32" H x 22.63" W Image size: 10.27" H x 12.75" W Charles Bragg (American, 1931-2017) was a painter, sculptor, and illustrator of commentary on human behavior, based out of Los Angeles, California. Bragg often injected his sense of humor and appreciation of satire into his subjects, many of which are cartoonish and seem half human and half animal. He also depicted serious subjects, ones that become poignant commentaries on the human condition. Bragg was born in St. Louis Missouri in 1931. His parents were vaudeville performers, and he spent most of his young life traveling on tour with them. During his teenage years, he went to New York's High School of Music & Art in Harlem. At 18, he ran away with his high school sweetheart, fellow artist Jennie Tomao...

Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 3). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 110]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

London: Thomas McLean, 1835. Third Edition. Etching with hand coloring in watercolor on cream wove paper, 9 1/2 x 13 3/4 inches (240 x 348 mm), full margins. With light, fresh color....

A Scene in the New Farce —as performed at the Royalty Theater London: George Humphrey, 1821. Etching and engraving on cream wove paper with extensive hand coloring in watercolor. 9 5/8 x 13 3/4 inches (244 x 348 mm), trimmed at the platemark. A beautiful impression of this large, intricate print...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...

Interiors I: Family Reunion 1984 Resist ground etching and engraving on BFK Rives wove paper, 20 x 36 inches (501 x 913 mm), full margins. Signed, titled, dated and numbered 49/175 in pencil, lower margin. In excellent condition with minor mat tone. A luminous, rich, and well-inked impression of this haunting image, with astonishing detail and depth. Framed handsomely under museum grade glass with archival materials in a solid wood frame with silver finish. [Milton 107] Intended to be a stand alone image in its inception, Family Reunion ended up spawning seven additional images, and became a sort of Primo Pensiero in the sprawling, masterpiece suite now known as Interiors. The suite took eight years to complete, and consists of works of varying format, psychological intensity, and subject matter. The thematic darkness in the eight images waxes and wanes, and Milton intentionally included several interlude works to lighten the tension he felt while composing several of the darker images. The first two in the series, Family Reunion, and Hotel Paradise Café, were meant to be companion pieces. The equilibrium of each composition is anchored on a central brooding figure; a man (perhaps based on a Thomas Eakins portrait of the American anthropologist Frank Hamilton...

London: Thomas McLean, 1818. Third Edition. Etching with hand coloring in watercolor on cream wove paper (published August 1st, 1835), 9 7/8 x 14 inches ...

A beautiful image of fellowship and esprit de corp with bright handcoloring in watercolor. London: Thomas Mclean, August 1st, 1835. Second Edition. Etching with handcoloring in water...

Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margin...

London: Thomas Mclean, 1835. Etching with hand coloring in watercolor on cream wove paper. 5 3/8 x 7 3/4 inches (135 x 195 mm), full margins. A lovely well inked impression with fres...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 4). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 112] A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...