Edouard Vuillard Art
French, 1868-1940
French artist Edouard Vuillard was known for depicting intimate glimpses of Parisian life around the turn of the 20th century. His figurative prints, drawings and figurative paintings were concerned not just with their subjects but with the private surroundings of their homes and gardens. Vuillard was strongly influenced by Postimpressionist painters like Paul Gauguin.
Vuillard was born in the French commune of Cuiseaux in 1868. His family moved to Paris in 1877, and six years later, he received a scholarship to study at the prestigious Lycée Fontaine (now called the Lycée Condorcet). He graduated in 1885, joined the studio of painter Diogène Maillart and enrolled in courses at Académie Julian. Two years later, he was also accepted to the École des Beaux-Arts.
In 1889, the young Vuillard began meeting with a group of Symbolist painters and mystics known as Les Nabis (the prophets). For the subsequent decade, he was a prominent member of the group. During this period, Les Nabis and Vuillard himself were influenced by Japanese woodblock prints, featuring a blending of shapes and colors and a shallow depth of field. Any figures in the paintings seemed to meld into the background, and the loose brushwork prefigured the advent of abstract art.
Les Nabis broke up in 1900, and Vuillard's work took on a brighter and more colorful appeal. He turned his attention to painting gardens, joining a rich tradition of French garden painters. Vuillard was nominated for the Légion d'honneur in 1912, but he refused on the grounds that he did not seek compensation for his work other than the esteem of people with good taste.
After a brief stint in the military during World War I, Vuillard returned to life as a painter. In the 1920s, he was commissioned for portrait paintings by prominent Parisians like director Sacha Guitry, the Contesse Marie-Blanche de Polignac and fashion designer Jeanne Lanvin.
Throughout the 1930s, Vuillard received numerous commissions from the French government. In 1938, he had a major retrospective at the Musée des Arts Decoratifs and was elected to the Académie des Beaux Arts. He died in 1940, at the age of 71.
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Artist: Edouard Vuillard
Interieur a la fenetre ouverte - Post Impressionist Oil by Edouard Vuillard
By Edouard Vuillard
Located in Marlow, Buckinghamshire
Signed oil on board interior by French Les Nabis painter Edouard Vuillard. The work depicts a room with a large window, outside of which are bare trees. Inside the room are three chairs and a patterned rug on the floor.
Signature:
Signed lower left
Dimensions:
Framed: 20"x13"
Unframed: 13"x6"
Provenance:
Prince Antoine Bibesco (1878-1951) - Special Envoy of Romania to the United States
Piasa Encheres - Paris Lot no. 88 - 8th April 2005 - Sold EUR 118,000 hammer price
Acquired at the above by Thomas Gibson Fine Art - London
Acquired by the previous owner from Thomas Gibson Fine Art - TEFAF Maastricht November 2005
Literature:
This work is included in the catalogue rasionne of the work of Edouard Vuillard under Ref Volume II No. 172 - illustrated and described
Access to the raisonne online can be found at the Wildenstein Plattner Institute website.
The work is described as being executed in the period 1899 to 1904 by Antoine Salomon and Guy Cogeval
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Édouard Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Édouard Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
All too often, Édouard Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...
Category
1890s Post-Impressionist Edouard Vuillard Art
Materials
Oil, Board
Study of Lucie (Ralph) Belin seated in an interior
By Edouard Vuillard
Located in Fairlawn, OH
Study of Lucie (Ralph) Belin seated in an interior
Graphite on paper, 1915
Signed with the estate stamp, Lugt 909b, the stamp faded from blue to brown (see photo)
Provenance:
Neffe-D...
Category
1910s Impressionist Edouard Vuillard Art
Materials
Graphite
Édouard Vuillard original illustrated program for the Théâtre de l’Œuvre
By Edouard Vuillard
Located in PARIS, FR
In this delicate, dreamlike lithograph, Édouard Vuillard lends his poetic sensibility to the printed program for the French premiere of Rosmersholm by Henrik Ibsen, presented by Lugn...
Category
1890s Edouard Vuillard Art
Materials
Paper, Lithograph
La Naissance d’Annette (Birth of Annette)
By Edouard Vuillard
Located in Fairlawn, OH
La Naissance d’Annette (Birth of Annette)
Color llithograph, 1899
Unsigned (as usual)
Edition: 100
Publisher: Ambrose Vollard
Printer: Auguste Clot, Paris
Condition: Excellent with f...
Category
1890s French School Edouard Vuillard Art
Materials
Lithograph
Les Jardin des Tuileries
By Edouard Vuillard
Located in Fairlawn, OH
Signed by the artist in pencil upper right; Annotated in pencil by the artist below signature: "no 58"
Edition: Intended edition of 100 for Vollard's "Album des Peintres-Gravures" o...
Category
Late 19th Century Edouard Vuillard Art
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Lithograph
"Le square Vintimille" original etching
By Edouard Vuillard
Located in Henderson, NV
Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...
Category
1930s Edouard Vuillard Art
Materials
Etching
Le Square Vintimille, A La gloire à Paris, Édouard Vuillard
By Edouard Vuillard
Located in Auburn Hills, MI
Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...
Category
1930s Modern Edouard Vuillard Art
Materials
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$1,996 Sale Price
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Lithographic poster by Édouard Vuillard 1893 for the Théâtre de l’Œuvre
By Edouard Vuillard
Located in PARIS, FR
This rare and evocative lithographic poster by Édouard Vuillard, created in 1893, is both a piece of theatrical history and a milestone in French Symbolist printmaking. Designed as a...
Category
1890s Edouard Vuillard Art
Materials
Paper, Lithograph
Portrait De Cezanne
By Edouard Vuillard
Located in Fairlawn, OH
Portrait De Cezanne
Lithograph, 1914
Unsigned (as issued in 1914)
Edition: Either 100 (per Roger Marx) or 400 impressions on various papers
Published in, Cezanne, Bernheim Jeune, 1914
Reference:
Roger-Marx 51 ii/II, printed in greenish-grey ink on laid paper
Condition: Excellent
Image: 9 1/2 x 9"
Sheet: 14 3/4 x 11 1/8"
Edouard Vuillard
French, 1868 - 1940
Vuillard's work straddles two centuries: he was a major post-impressionist in the 1890s, as well as a participant in the renewal of decorative art before and after 1900. Vuillard was one of the central figures of "Les Nabis...
Category
1910s French School Edouard Vuillard Art
Materials
Lithograph
Couverture pour Douze Lithographies en Couleurs, ou Passage et Interieurs
By Edouard Vuillard
Located in Fairlawn, OH
Couverture pour Douze Lithographies en Couleurs, ou Passage et Interieurs
Color lithograph, 1896-1898
Unsigned (as issued)
From: Douze Lithographies en Couleurs, ou Passage et Interi...
Category
1890s Post-Impressionist Edouard Vuillard Art
Materials
Lithograph
Une Niit d'avril a Ceos
By Edouard Vuillard
Located in New York, NY
Une Niit d'avril a Ceos, theatre program for a production with sets by Maurice Denis with advertisement for La Revue blanche, 1894. Lithograph.
Ref:...
Category
1890s Art Nouveau Edouard Vuillard Art
Materials
Lithograph
"Le Dejeuner (Ref. RM #15 Ed: of 20), " Color Lithograph by Edouard Vuillard
By Edouard Vuillard
Located in Milwaukee, WI
"Le Dejeuner" is a rare original color lithograph by Edouard Vuillard. It depicts a finely dressed woman with more less distinguishable figures in the background. This print was exec...
Category
1890s Edouard Vuillard Art
Materials
Lithograph
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The Light Refreshment - Nabis Oil, Seated Figures in Interior - Edouard Vuillard
By Edouard Vuillard
Located in Marlow, Buckinghamshire
Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together.
Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7
This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist.
Signature:
Signed lower right
Dimensions:
Framed: 19.25"x20.25"
Unframed: 9.25"x10.25"
Provenance:
Renou et Poyet - Paris
Roland, Browse & Delbanco - London (labels verso) c. 1955
The collection of Sir Alec Guinness
Galerie Jan Krugier, Geneva - 1972
Nichido Gallery - Tokyo 1972
Private collection - Japan
Christie's London - Impressionist & Modern Art - June 2016
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
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INTERIEUR AU CANOPE (INTERIOR WITH A SOFA).
By Edouard Vuillard
Located in Santa Monica, CA
EDOUARD VUILLARD (French 1868 - 1946)
INTERIEUR AU CANOPE (INTERIOR WITH A SOFA). 1930 (RM 62 iii/iii)
Etching, signed E.V. in plate lower left. As published in 'Le Tombeau d'Edoua...
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1930s Impressionist Edouard Vuillard Art
Materials
Etching
1930 Edouard Vuillard 'Interior au canapé ou soir (Interior with a Sofa, or Even
By Edouard Vuillard
Located in Brooklyn, NY
Paper Size: 5.25 x 7.5 inches ( 13.335 x 19.05 cm )
Image Size: 3.75 x 5.75 inches ( 9.525 x 14.605 cm )
Framed: Yes
Condition: A-: Near Mint, very light signs of handling
Addi...
Category
1930s Edouard Vuillard Art
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Etching
H 5.25 in W 7.5 in D 0.1 in
L'abat-jour jaune - Nabis Pastel, Study of Interior by Edouard Vuillard
By Edouard Vuillard
Located in Marlow, Buckinghamshire
A wonderful pastel on board by French Nabis painter Edouard Vuillard depicting an interior scene with a yellow lamp amongst several other trinkets on a table and paintings and a cupboard on the wall behind. This piece is a study for the portrait of Madame Adrien Benard.
Signature:
Signed lower right and dated 1924
Dimensions:
Framed: 15.5"x118"
Unframed: 9.5"x12"
Provenance:
With thanks to Mathias Chivot who kindly confirmed the authenticity of this work.
This work is catalogued in the archives of Roussel-Vuillard.
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...
Category
Early 1900s Impressionist Edouard Vuillard Art
Materials
Pastel, Board
Etude de nu assis - Nabis Oil, Seated Nude in Interior by Edouard Vuillard
By Edouard Vuillard
Located in Marlow, Buckinghamshire
A beautiful oil on canvas by French Nabis painter Edouard Vuillard depicting a nude woman resting in a chair in an interior. An absolutely stunning piece.
Signature:
Signed lower right
Dimensions:
Framed: 20"x15"
Unframed: 14"x19"
Provenance:
The atelier of the painter Galerie Girard, Paris
Collection of Georges & Jacqueline Herbin
Bibliography:
Vuillard, The Inexhaustible Glance by Antoine Salomon & Guy Cogeval,
Catalogue Raisonne - Skira/Seuil - Wildenstein Institute, 2003, described and reproduced in Volume II, page 664 with the number VII-248.
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...
Category
Early 1900s Impressionist Edouard Vuillard Art
Materials
Canvas, Oil
Paris Le Square Vintimille - Original Etching by E. Vuillard - 1937
By Edouard Vuillard
Located in Roma, IT
Paris Le Square Vintimille is an original artwork realized in 1937 by Edouard Vuillard.
Black and white etching and drypoint. Image dimensions: 33.5 x 25.5 cm.
Hand-signed on plate...
Category
1930s Edouard Vuillard Art
Materials
Etching
H 18.12 in W 12.6 in D 0.08 in
Jeux d'Enfants
By Edouard Vuillard
Located in Long Island City, NY
Artist: Edouard Vuillard, After, French (1868 - 1940)
Title: Jeux d'Enfants (Roger-Marx 29)
Year: circa 1900
Medium: Lithograph, signed in the plate
Edition: 20/50
Size: 12.5 in. x ...
Category
1890s Impressionist Edouard Vuillard Art
Materials
Lithograph
Interieur au Canope
By Edouard Vuillard
Located in Santa Monica, CA
EDOUARD VUILLARD (French 1868 - 1946)
INTERIEUR AU CANOPE (INTERIOR WITH A SOFA). 1930 (RM 62 iii/iii)
Etching, signed E.V. in plate lower left. As published in 'Le Tombeau d'Edouard Vuillard'. 1930.
Third State of three, edition unknown. Plate 3 7/8 x 5 7/8 inches, sheet 9 1/2 x 12 1/2 inches, laid paper, with
MBM Ingres d'arches watermark. Excellent condition. Sheet with no toning what so ever, unlike photos with uneven light.
Category
1930s Modern Edouard Vuillard Art
Materials
Etching
Croquis (Les Tuileries)
By Edouard Vuillard
Located in Fairlawn, OH
A rare trial proof printed in green ink, outside the edition printed in black which appeared in the album L'Oeuvre in 1895 in an edition of 100, all of which were unsigned.
This imp...
Category
1890s Impressionist Edouard Vuillard Art
Materials
Lithograph
JEUX D'ENFANTS
By Edouard Vuillard
Located in Portland, ME
Vuillard, Eduard. JEUX D'ENFANTS. Roger-Marx 29.
Color lithograph, 1897. Third (final) State.
Edition of 100 printed by Clot for the "Album des Peintres-Graveurs" published by Voll...
Category
1890s Edouard Vuillard Art
Materials
Lithograph
La couturiere (The Dressmaker)
By Edouard Vuillard
Located in Fairlawn, OH
Signed in the stone lower right with the artist’s initials “EV”
From: La Revue Blanche, Tome VI, 1894, frontispiece
Note:
Commissioned by Natanson for Album de la Revue Blanche. ...
Category
1890s Post-Impressionist Edouard Vuillard Art
Materials
Lithograph
Coquelin Cadet in the role of Leridon
By Edouard Vuillard
Located in Fairlawn, OH
Signed with the estate stamp, Lugt 909c
Brush and ink on paper
Provenance:
JPL Fine Art, London (Label)
Elaine Sargent, New York, (1933-2016)
Note: The irregular format image is...
Category
1890s Edouard Vuillard Art
Materials
Ink
Edouard Vuillard art for sale on 1stDibs.
Find a wide variety of authentic Edouard Vuillard art available for sale on 1stDibs. You can also browse by medium to find art by Edouard Vuillard in lithograph, oil paint, paint and more. Much of the original work by this artist or collective was created during the 19th century and is mostly associated with the Impressionist style. Not every interior allows for large Edouard Vuillard art, so small editions measuring 5 inches across are available. Customers who are interested in this artist might also find the work of Achille-Émile Othon Friesz, Maximilien Luce, and Paul Cézanne. Edouard Vuillard art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,250 and tops out at $499,296, while the average work can sell for $11,000.
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