Thomas French Fine Art Prints and Multiples

La Tasse et la Pomme (The Cup and the Apple) Wash drawing and gouache transferred to lithograph stone, 1947 One of four unsigned proofs Edition: a pro...

La Tasse et la Pomme (The Cup and the Apple) Wash drawing and gouache transferred to lithograph stone, 1947 One of four unsigned proofs Edition: a pro...

Night Life at the Moulin Rouge Pen and ink drawing, c. 1890 Signed lower left (see photo) A scene of the night life near the Moulin Rouge, Paris. The Moulin Rouge is the famous cabaret located in the old wind mill building in the right distance of this image. It was the center of fin de siecle culture in Paris. Condition: Slight yellowing to the sheet from age. Sight size: 9 x 5 3/4 inches Frame size: 14-1/8 x 10-3/4 x 1/2" Provenance: Eric G. Carlson (1940-2016), art historian and noted art dealer François Clément Sommier, best known under the pseudonym “Henry Somm,” was born in Rouen in 1844. He attended the local École municipale des beaux-arts and went on in 1867 to Paris, where he studied under Isidore Pils (1813-1875). “Somm is above all a painter and his watercolors are much sought after; he has the painter’s eye to the highest degree imaginable.” Louis Morin, Somm’s fellow artist revealed in 1893 that while his training as an academic painter forged his draughsmanship and an acute eye for colors, Somm preferred and excelled in the graphic realm. Particularly prolific, he produced a very extensive corpus of 7,500 drawings and prints, many of which were widely reproduced in journals and magazines. In 1867, Somm’s career reached a turning point with the discovery of Japanese culture through his friendship with French collector and critic Philippe Burty and a visit to the Paris International Exhibition. More generally, Japanese art and especially Japanese woodblock prints exerted a heavy influence on French artists at the time, and especially on the Impressionists, who were particularly inspired by the subject matter, as well as the innovative use of perspective, composition and color. Although technically not an Impressionist by pure definition, Somm’s interest in the effect of atmospheric light on shadow and color prompted Edgar Degas to invite him to participate in their 4th exhibition in 1879. However, Somm did not exhibit again with the Impressionists, and was never considered a member of the group. Rather, his work intersects between Impressionism, Symbolism and Japonism. In fact, while his drypoints and etchings reflect a more literal borrowing of Japanese elements than the work of Whistler or Monet, they also clearly anticipate the future work of Henri de Toulouse-Lautrec. Although Somm was 20 years older than Toulouse-Lautrec, both artists developed a friendship, as habitués of the Chat noir, a cabaret founded by Rodolphe Salis and located 84 boulevard de Rochechouart in Montmartre. More than a cabaret, the Chat noir also became an important gathering place for writers, poets, composers, musicians, and artists living in Montmartre. For Somm, a founding member of this artistic circle, it also served as a unique environment, where he could express his limitless imagination as active participant to the events – notably the literary soirées organized by the hydropathic group – and illustrator of the Chat noir journal. In 1886, Somm, in collaboration with Georges Auriol, initiated the Chat noir’s first puppet show, which subsequently evolved into shadow theater. Somm’s Japonism and sense of humor appealed to Toulouse-Lautrec, and this influence is echoed in Lautrec posters advertising two other Montmartre nightspots, namely Le Mirliton and Le Divan Japonais...

Plate XII, Le Cocu Magnifique From: Le Cocu Magnifique Etching & aquatint, 1968 From the unsigned edition of 200 impressions printed on Rives BFK paper (see photo) Signed in pencil o...

The Woman and the Street Etching, 1927-1930 Signed in the plate lower right corner (see photo) From: The Fables of La Fontaine, Plate 84 From the deluxe portfolio edition of 40 examples, printed on japan nacré paper Printed by Maurice Potin, 1927-1930 Published by Tériade, éditeur, Paris, 1952 Reference: Johnson 174 Condition: Tape stain top center recto from pervious hinging. Image/Plate size: 11 3/4 x 9 1/2 inches Sheet size: 15 1/8 x 11 1/8 inches The Women and the Secret There's nothing like a secret weighs; Too heavy 'tis for women tender; And, for this matter, in my days, I've seen some men of female gender. To prove his wife, a husband cried, (The night he knew the truth would hide,) 'O Heavens! What's this? O dear...

XXe Siecle, No. 34, Mai 1970 Color lithograph, 1970 Unsigned (as usual for XXeme Siecle edition) From: XXe Siecle, Volume 34, 1970 Published by G. di San Lazzaro for A. Maeght, Paris...

L'Enfant Et Le Maître Décole (The Child and the School Teacher Etching with hand coloring by Chagall, 1927-1930 Signed in the plate lower right (see photo) From La Fontaine Les Fable...

Beyond (sic) - IX Mezzotint, n.d. Signed, titled and numbered in pencil (see photos) Edition: Unique impression (i/I) Ninion and Sheldon Landy were major collectors of Hamanishi's works. They donated a large group of his mezzotints to Art Institute of Chicago, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. Condition: excellent Plate/Image size: 9.75 x 7.75 inches Sheet size: 12 1/2 x 9 5/8 inches Provenance: Ninion and Sheldon Landy, Hamanishi's patrons EXTREMELY RARE-UNIQUE Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker tool. Worked in all directions, this creates an even finely-grained texture over the surface of the plate. Each pit will hold ink and were the plate inked at this stage, it would print almost solid black. To create the design the artist smoothes out some of the pits with a burnisher so they will hold less ink. Where highlights are required the plate is burnished and polished quite smooth. A wide range of tones are possible in mezzotint and the process can usually be recognized by a light design on a velvety black background. Hamanishi is internationally known for his mastery of this medium. He creates images with both subtle detail and dynamic composition that explore spatial relationships. His genius is in balancing calm and meditative qualities with the energetic tensions of inanimate and natural objects. Early work had such things as pipes and branches wrapped with cloth, later rope, then straw. When he moved to a more rural area, rice fields became a common element. He has also been exploring the use of color and metallic leaf in his artwork. In 2005 Mr. Hamanishis began the Haze series exploring more abstract themes using the subtle differences between matte and black inks done in mezzotint and relief printing. There is always a sense of mystery and intrigue in the complex mezzotint prints that come from Hamanishi’s deft hands. They compel the viewer to do a slow, thoughtful examination in order to fully absorb the vision the artist intends. Exhibitions: Worcester Art Museum, Massachusetts --2 person show with Hamaguchi Ibiza Biennial, Spain--Grand Prize Original Colored Graphic Print Triennial, Switzerland--Grand Prize Cabo Frio International Print Biennial, Brazil--Grand Prize CWAJ Print Show, Tokyo--Art Grant winner Republic of China Print Exhibit--Gold Medal Graphic Arts Council, Achenbach Foundation, San Francisco--commissioned print Art Institute of Cleveland University of Alberta, Edmonton, Canada--visiting artist Shun-yo-Kai, Tokyo--prize winner Bhara Bhavan International Print Biennale, India Ren Brown...

Combination-Cross No. 3 Mezzotint, 1979 Signed, titled and numbered in pencil Edition: 30 (9/30) Provenance: Ninion and Sheldon Landy, Chicago The Landy's donated a large collection of Hamanishi to the Art Institute of Chicago in 2013, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. Condition: Excellent Image size: 13 5/8 x 14 1/8 inches HAMANISHI Katsunori...

Game Work No. 20 Mezzotint, c. 1984 Signed, titled and numbered in pencil (see photos) Edition 100: (7/100) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Katsunori Hamanishi's Work Price List-Small 22 Condition: Excellent Image: 13 1/4 x 8 3/4" Sheet: 17 1/2 x 13 1/8" Ninion and Sheldon Landy were major collectors of Hamanishi's works. They donated a large group of his mezzotints to Art Institute of Chicago, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. HAMANISHI Katsunori...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

The Season's Encounter Signed, dated and numbered in the lower margin Edition: 20 (16/20) Signed, dated and numbered in the lower margin Condition: Mint, f...

The Awakening-Night From: Homage to Tobey Portfolio (Six Plates) Etching, 1974 Signed in pencil by the artist on the front lower right "Tobey" (see photo...

La butte de Montmartre et le Sacre-Couer (Sacre Coeur from a Distance) Lithograph, 1926 From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Rare signed proo...

Refinery Scene Lithgrah, c. 1930 Signed in pencil lower right. (see photo) Edition c. 14 Two impressions in the artist's estate. The other impression I sold to Dave and Reba Willia...

Looking Back Etching with hand coloring by the artist, 1994 Signed, dated, and numbered in pencil lower left (see photo) Edition: 67 (49/67) (see photo) References And Exhibitions: Franco & Verne, Quiet Elegance: Japan Through the Eyes of Nine American Artists, 1997. Illustrated pg. 61. Cited as a “great print” by Stewart pg. 53. Note: An important print by the artist Joel Stewart Biography Museum Collections: • Los Angeles County Museum of Art, Los Angeles, California, USA Cleveland Museum of Art, Cleveland, Ohio, USA. Portland Art Museum, Portland, Oregon, USA Library of Congress, Washington D.C., USA Allen Memorial Art Museum, Oberlin, Ohio, USA Hoehn Family Galleries, University of San Diego, USA Group Exhibitions: 2020 The Terminal, Kyoto, “Kyoen” 2019 Rijksmuseum, Amsterdam, “Long Live Rembrandt” Alt Space POST Gallery, Kyoto, “The Echo Of Songs” 2018 Hakuhou-Doh Gallery, Kyoto, Japan – “Ki Ni Naru” CWAJ Print Show, Tokyo, Japan 2017 Kyoto Municipal Museum Of Art – “Kyoten 2017” CWAJ Print Show, Tokyo, Japan 2016 CWAJ Print Show, Tokyo, Japan 2015 CWAJ Print Show, Tokyo, Japan – 60th Annual Exhibition 2014 Kyoto Municipal Museum Of Art – “Kyoten 2014” The Kura, Kyoto, Japan – Collaborative Paintings With The Mangold Collection 2012 CWAJ Print Show, Tokyo, Japan – 56th Annual Exhibition 2011 CWAJ Print Show, Tokyo, Japan – 55th Annual Exhibition 2008 Phoenix Art Museum, Arizona, USA, “Making Waves – Contemporary Japanese Prints” 2007 Library Of Congress, Washington D.C., USA – “On The Cutting Edge: Contemporary Japanese Prints” 2006 Portland Art Museum, Oregon, USA – “Mahaffey Fine Art: 14 Years, 14 Artists” LA County Museum Of Art, California, USA – “Modern Japanese Prints: Etchings” CWAJ Print Show, Tokyo, Japan – 50th Annual Exhibition 2005 CWAJ Print Show, Tokyo, Japan – 49th Annual Exhibition 2004 CWAJ Print Show, Tokyo, Japan – 48th Annual Exhibition 2003 CWAJ Print Show, Tokyo, Japan – 47th Annual Exhibition 2002 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 2001 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 2000 Cleveland Museum Of Art, Ohio, USA, “East Meets West: Modern Japanese Prints” CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1999 Tolman Collection Gallery, Tokyo, Japan – “Miyabi” CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1998 Anne Reed Gallery, Ketchum, Indiana, USA, “One Common Denominator” CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1997 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1996 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1995 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1994 Kawaguchi Bijutsu Gallery, Kyoto, Japan – “Prints By Painters” 1993 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1992 Kato Gallery, Tokyo, Japan – Spring Show 1990 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1987 Cydney Payton Gallery, Denver, Colorado, USA – Group Exhibition Osaka Modern Art Center, Osaka, Japan – Biennale 1986 Voice Gallery, Kyoto, Japan – 3 Man Show 1983 Tacoma Art Museum, Tacoma, Washington, USA, Biennial Show 1983 Bellevue Art Museum, Bellevue, Washington, USA, Biennial Show One Person Exhibitions: 2020 Alt Space POST, Kyoto, Japan, “Floating Screens”, Pop-Up Installation 2019 Hasu Projects, Kyoto, Japan, “Gojo Rakuen”, Pop-Up Installation 2017 Hakuhou-Doh Gallery Hakuhou-Doh Gallery, Kyoto, Japan, “Fractured Fairy Tales, A New Print Series” 2015 Hakuhou-Doh Gallery 2013 Nishi Bijutsu Gallery 2011 Azuma Gallery, Seattle, Washington, USA ,“Recent Works” 2010 Fushimi Souko, Kyoto, Japan , “Crossroads: A Folding Screen Installation” 2005 Azuma Gallery, Seattle, Washington, USA , “Recent Works” 2004 Kato Gallery, Tokyo, Japan 2002 Kato Gallery, Tokyo, Japan Azuma Gallery Seattle, Washington, USA 2001 Keihan Art Salon, Osaka, Japan 2000 Azuma Gallery, Seattle Washington, USA, “New Works” Ren Brown...

Poster for the Saxon Trade and Art Exhibition, Dresden 1896 Color lithograph poster mounted on heavy linen, 1896 Signed in the stone lower left corner (see photo) Proof before additi...

School Girls of Vienna Packing Rations from England and America for the Little Children Color lithograph poster, 1921 Signed lower right in the text (see photo) Created in the Wein (Vienna), School of Arts and Crafts Designed by Stephanie Krauss, aged 15 years Published by the American Red Cross...

The Beach at Long Branch Woodengraving, 1869 Signed in the block lower right "WH" ( see photo ) Published in Appleton’s Journal of Literature, Science and Art, August 21, 1869 Condition: Double page illustration, with centerfold. Tipped in binding. Very good condition. Displayed in a bird’s eye maple frame with French matting. Image size: 15 1/2 x 21 7/16 inches Frame size: 25 x 31 Reference: Goodrich 43 Beam 158 Kushner, Gallati & Ferber 65 Provenance: Donaldson, Lufkin & Jenerette Americana Collection Credit Suisse...

Sketch of Anne Lithograph, 1923-1924 Signed and titled by the artist, signed by his printer Bolton Brown Edition: 42 Printed by Bolton Brown (see photo of his signature in pencil) Pr...

Portrait of Gladys Anne Hoskyns Collotype after a Wyndham Lewis drawing, 1923 Singed in the plate and reinforced in pencil Published by The Dial Publishing Company in Living Art: Twenty Facsimile Reproductions after Paintings, Drawings and Engravings and Ten Photographs after Sculpture by Contemporary Artists Author/Publisher: Scofield Thayer...

The Bathers Woodengraving, 1873 As published in Harper's Weekly, August 2, 1873 (p. 668) Provenance: Wunderlich & Co., Inc., New York, NY (Their stock no. ...

The Story of Tamiya Bataro Color woodcut diptych, March 22, 1886 Signed and sealed by the artist (see photo) Yoshitoshi signature, Taiso seal Series: New selection of eastern brocad...

Dangerous: The Appearance of a Contemporary Geisha of the Meiji Era Color woodcut, 1888 Plate 28 from the series "Thirty-two Aspects of Customs and Manners" (Fuzoku Sanjuniso) Format...

Eloignement (Remoteness) Etching, aquatint and engraving, 1990 Signed lower right corner (see photo) Numbered lower left corner (see photo) Edition: 99 (28/99) Publisher: Jacqueline ...

The Monumental Tablet Etching, engraving, drypoint and burnishing, c. 1748 Series: Grotteschi (Grotesques, 4 plates) Original, unwashed condition. Excellent. Second edition first is...

Cosca II “VP 100” Screen print, 1982 Signed and numbered by the artist (see photo of signature) Edition: 325 plus 65 Vasarely Foundation (127/325) Editor: no editor/publisher is prov...

DOOR-MC Screen print, 1982 Signed and numbered in pencil Printed on Arches wove paper Published by Atelier Arcay, Paris Edition: 325 (47/325) Reference Benavides & Vasarely No. 894 C...

TRIDIM Gris Screen print, 1986 Signed in pencil lower right (see photo) Edition: 200 (76/200) From: portfolio enetitled "35 ans apres" Printed at Atelier Arcay, Paris, France Publisher: Park West Gallery...

Olkia-1 Color lithograph, 1962 Signed dated and numbered in lower margin Edition: 80 (32/80) Condition: Very good. White pigment appears to have been added along the border of the oval shape by the artist. Framed with matting in a metal section frame. Image: 20 x 17 3/4" Frame: 31 1/2 x 24" Reference: Benavides & Vasarely 529 Provenance: Martha Jackson Gallery, NY Anderson Gallery...

Our M.C.-2 Screen print, 1970 Signed in pencil lower right Chop stamp: Denise Rene Editeur, on lower left margin From: Album Charities Edition: 300 (35/300) Catalog raisonne states e...

Blue and Red Space Ilk Screen, 1971 Signed and dated lower right (see photo) editioned lower left (see photo) Edition: 75 (75/75) Sheet size: 22 1/8 x 29 7/8" Image: 21-7/8 x 29-5/8"...

Takeda Daizendayu Harunobu (Nyudo Shingen) Crouching in a Field Color woodcut, 1878 Signed: Oju Yoshitoshi hitsu; Seal: Taiso (See photo) From the series: "A Mirror of Famous General...

April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido Color woodcut, 1880 From the series: "Pride of Tokyo's Twelve Months" (Tokyo jiman juni kagetsu) Signed and sealed lower rig...

The Ghost of Seigen Haunting Sakurahime Color woodcut, May 1889 Signed: Yoshitoshi; seal: taiso, lower right (see photo) Plate 5 from the series "New Forms of the Thirty-six Ghosts" Publisher: Sasaki A very fine lifetime impression of the second state (bi-colored cartouche) (see photo) The murdered lover of courtesan Sakurahime appears in the smoke from her brazier Format: Oban Condition: Excellent Image size: 14 3/8 x 9 3/4 inches Reference: Beauty and Violence, Plate 6 Stevenson, "Ghosts", Plate 5 TAISO YOSHITOSHI (1839-1892) Taiso Yoshitoshi was born in the city of Edo (now Tokyo) just before Japan’s violent transformation from a medieval to a modern society. In the mid 19th century pressures from the United States and Europe brought an end to Japan’s two hundred years of self-imposed isolation. In 1868 a pivotal period began known as the Meiji Restoration. It was marked by the return of Imperial power, heightened militarism, a new constitution and industrial advancement, as well as social and political reform. In the midst of shifting values, woodblock print artists like Yoshitoshi struggled to create images that would satisfy the public’s changing tastes. During the Edo period (1600-1868) woodblock prints...

Les Bijoux Indiscrets (The Indiscreet Jewels) Color lithograph, 1962-3 As published in XXeme Siecle, 1963 From the edition issued by San Lazarro unsigned for the album XXeme Siècle No.22. Printed from the same stones and at the same date as the signed edition of 75 impressions. Printed at the studio of Mourlot, Paris 1963. Signed in the stone (see photo) Titled in the stone (See photo) Edition c. 2000 Reference: Kaplan and Baum: Magritte Graphic Work no 3. Kaplan, Surrealist Prints, Figure 80, page 103 Image size: 9 3/16 x 11 7/8 inches "Executed in 1963, Les bijoux indiscrets (pen and ink drawing) is a work which shows a hand which has a face, its eyes closed, on its wrist. Magritte had originally intended to call the oil version of this work, which he conceived of in 1962 but only finally painted during the following year, the same this work on paper was created, La divine comédie, but according to the catalogue raisonné changed his mind following the suggestion of his friend Paul Scutenaire. Instead of the Dante reference, it was replaced by one to Denis Diderot's first novel, a satire in which a monarch had a magic ring able to make the genitals of women speak. In an old English translation, the bijoux were the 'toys', or genitals, of the women, making the play on the notion of transformative and elusive jewels evoked by Magritte's picture all the more complex. For here, in place of a bracelet, is a human face: this is, indeed, an indiscreet jewel; however, in the eighteenth-century novel the indiscretion was shared by the ring which was able to gain such voluble responses from the women of the fictitious Congo of which the main protagonist was sultan and by those women's no-longer-private parts themselves. This title therefore adds an extra layer of Surrealism to the work, paying homage to one of the movement's predecessors. Les bijoux indiscrets is a preparatory work for a lithograph that Magritte created for XXe Siècle, which was published at Christmas the same year. Clearly, the artist was returning to and embellishing his original composition, which had shown a simple landscape as a backdrop to the articulate hand...

Deux Femmes Dans L'Herbe Lithograph, 1926 Monogramed in pencil, "M" by the artist lower right (see photo) Numbered in pencil lower left; (65/125) (see photo) Edition: 125, plus 10 p...

Homme couche et femme accroupie Lithograph on Arches paper, 1956 Signature stamp lower right )see photo) Annotated in pencil lower left: "epreuve d'artiste" (see p[hoto) Edition: 50, plus a few artist's proofs One of at least six artist's proofs apart from the edition of 50 Printed by Mourlot, Paris Inventory number verso: 50. Edition: 50, plus a few artist's proofs One of at least six artist's proofs apart from the edition of 50 Provenance: Pablo Picasso Inventory number verso: 50.014 (recorded in the Picasso Archives, Paris) Marina Picasso Collection...

Grand Tier at the Met Etching, 1939 From: Reginald Marsh, Thirty Etchings and Engravings Published by the Whitney Museum of American Art, 1969 Unsigned (as usu...

Gaiety Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition); Numbered in pencil lower left; Blind stamp of the Whitney Museum (WM) lower right Edition: 114, regular ed...

Darius at 10 Drypoint, 2022 Signed, titled and numbered in pencil Printed by Rebekah Wilhelm Her drystamp lower right Published by the artist Edition 14, plus pr...

Mademoiselle Sablon Lithograph, 1907 Unsigned Provenance: estate of the artist Reference: Belleroche No. 383 Edition: c. 15 Condition: excellent Image size: 18 1/2 x 19 inches Sheet size: 24 1/4 x 18 1/2 inches Albert Gustavus de Belleroche, also known as Albert Belleroche, (22 October 1864 – 14 July 1944) was a Welsh-born painter and lithographer, who lived most of his childhood and his adulthood in Paris and England. He began as a painter, but at the turn of the century focused on lithography, for which he is most well-known. He was awarded the Chevalier de l’Ordre de Leopold by King Albert I of Belgium in 1933. Early life Albert de Belleroche, Lithograph of the artist's mother, Mrs. Harry Vane Milbank, circa 1900 Albert Gustavus De Belleroche was born on 22 October 1864 in Swansea. His parents were Brusseler Alice and Edward Charles, the Marquis de Belleroche, who died when he was three years old. His mother was the daughter of Desire Baruch. In March 1871, she married Harry Vane Millbank, the son of MP Frederick Milbank. He grew up in Paris and London and he used the surname Milbank until he was 30 years of age. He attained the title of count from his father's family of French Huguenot ancestry. Career and personal life La Danseuse (model Lili Grenier), circa 1890 In 1882, Belleroche studied briefly at Carolus-Duran's art school in Paris, preferring to study the masters like Johannes Vermeer and Sandro Botticelli at museums. He was a friend and studio-mate of John Singer Sargent in Paris and London, with the men making many sketches and paintings of each other. Some of the works that Sargent made of Belleroche are suggestive of an emotional relationship between the men and Belleroche may have been the love of Sargent's life. Dorothy Moss, an art historian, states "Sargent's portraits of Belleroche, in their sensuality and intensity of emotion, push the boundaries of what was considered appropriate interaction between men at this period." Belleroche was financially independent and did not need or desire to obtain work through commissions. Instead, he chose who he would paint, which included Japanese wrestler...

Reclining Nude Holding a Necklace Lithograph, c. 1908 Signed in pencil lower right (see photo) Edition: c. 15 Reference: Belleroche No. 525 Condition: Excel...

Facade I Screen print, 1970 Signed, dated, titled and numbered in pencil Edition: 100 (44/100) Provenance: Estate of the artist By decent Condition: Excellent Image: 24 x 29" Sheet:...

Untitled From: Gates to Times Square (20 screenprints, two with additional lithography) Silkscreen, c. 1978 Signed in pencil (see photo) Edition 100 (90/100) (see photo) Publisher: Prestige Art, Ltd., Mamaroneck, NY Printer: Styria Studio, Inc., NY, with their blindstamp This earlier (1966) sculpture of the same title is the inspiration of the portfolio. The sculpture is in the collection of the Albright Knox Museum. The screenprints follow the neon of the sculpture. Greek-born American sculptor Chryssa—who went by her first name professionally—died on December 23, 2013, reports Margalit Fox of the New York Times. Born in 1933 in Athens, Chryssa Vardea-Mavromichali grew up during the Nazi occupation of Greece. After studying at the Académie de la Grande Chaumière, Paris, and the California School of Fine Arts, San Francisco, she began incorporating neon into her fragmentary, text-based work. Her first solo exhibition in New York was held at the Betty Parsons Gallery in 1961, which was quickly followed by shows at the Guggenheim, New York; Leo Castelli Gallery, New York; and the Walker Art Center, Minneapolis. Her work is part of collections of major museums, including the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; and the Corcoran Gallery of Art, Washington, DC. Note: A set of Gates...

Based on a photograph of Mrs. Newton with a woman and child, presumably her sister, Mary Hervey and her niece Lilian. From the 1st edition, printed in London by Goulding Edition: 100 impressions printed by Goulding, London, 1881 200 impressions printed by Delatre, paris, 1882/3 In the estate vente there were 18 impressions "in different states" The plate was canceled and in the collection of the Sagot-LeGarrec heirs, Paris Printed on Dutch, Van Gelder watermark laid paper Signed and dated in the plate upper center plate edge Good morning, Thanks for your email about James Jacque Joseph Tissot works on paper. In addition to the example you wanted more information on, I have the following work by Tissot listed on 1st Dibs. Access them by place the LU_____ number (which is below the title) in the search box. It should take you right to the product page. Le Matin (Morning) LU1409989932 La Soeur ainee The Elder Sister LU1405402222 In Foreign Climes LU1406944542 Au bord de la mer (At the Sea Side) LU1409990002 Tissot is a very interesting artist. He was a close friend of both James Whistler and Edgar Degas. You can find a good biographical sketch on Wikipedia. There have been numerous museum exhibitions dedicated to his works in the United States, Europe and Japan. Please let me know if you have any other questions. All the best, Tom French...

Les Pelerins d'Emmaus (The Pilgrims of Emmaus) After a 1894 painting by Denis in the Van Gogh Museum (see photo) Color lithograph, 1895 Signed in pencil ...

New England Coast (Greenport, New York) Lithograph, 1969 Signed in pencil lower right (see photo) Edition: 350 Published in the book, Stow Wengenroth...

Untitled Screen print, 1941 Signed and dated in pencil lower right From an unnumbered edition of 6 Condition: Excellent Image size: 7 1/4 x 5 3/4 inches Sheet size: 10 x 8 inches Primarily known for his work in abstract expressionism, Myron Kozman was born in Muncie, Indiana on January 3, 1916. He attended the Cedar Rapids Jr. College in 1935. During the late 1930s, Kozman produced several abstract paintings for the Works Progress Administration which were displayed in public venues around Chicago. It was in the WPA that he learned serigraphy, which he later taught to Maholy-Nagy. He received his degree from the Chicago School...

untitled Color serigraph, 1941 Signed and dated lower right (see photo) Very small edition (less than 10) (Looks like a red brick building with white windows, probably in Chicago where he lived) Provenance: Estate of the Artist Condition: Excellent Image size: 12 5/8 x 12 inches Sheet size: 18 7/8 x 112 1/2 inches Primarily known for his work in abstract expressionism, Myron Kozman was born in Muncie, Indiana on January 3, 1916. He attended the Cedar Rapids Jr. College in 1935. During the late 1930s, Kozman produced several abstract paintings for the Works Progress Administration which were displayed in public venues around Chicago. It was in the WPA that he learned serigraphy, which he later taught to Maholy-Nagy. He received his degree from the Chicago School...

L'Infante Marguerite (D'Après Velasquez) after a Manet painting in the collection of the Louvre, Paris (see photo) Etching, 1862-1864 Unsigned (as usual) A posthumous impression from...

Berthe Etching with drypoint, 1883 Signed in the plate (see photo) This etching was inspired by an 1882/3 pastel which the artist included in his ambitious "Femme a Paris" exhibition at Galerie Sedelmeyer, Paris, in 1885. Reference: Beraldi 65 Wentworth 74, published state Tissot 76 Condition: Excellent Plate/Image size: 14 1/4 x 11 inches Sheet size: 19 1/2 x 15 inches Frame size: 23-1/2 x 20-1/4 inches Donald Morris Gallery, Birmingham, Michigan (Morris had a distinguished collection of Tissot prints...

La Fille au Violon Color lithograph, gypsograph with embossed publisher's stamp Signed and numbered in ink (see photo) From: L'Estampe Originale, Paris, Vol. VII Published by Andre M...

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II P...

Au bord de la mer (At the Sea Side) Etching and drypoint, 1880 Signed in the plate middle left edge (see photo) Edition: c. 100 A very rich impression, full of burr and contrasts Pri...

River Reflections Color woodcut, c. 1910 Unsigned Provenance: Dow Family Album, Cincinnati Condition: Excellent Image size: 2 1/2 x 4 inches Sheet size: 3 1/8 x 4 7/8” A color varian...

Le vent et l'eau Signed, dated, titled and numbered in the lower margin (see photos) Edition: 10 (see photo) There were also 25 impressions with the typeface caption of the title below the image From: Eaux, pierres, sables (Wayer, Stones and Sand) Portfolio From the series Phenomena, Portfolio 10 This No. 3 from Portfolio Eaux, pierres, sables Edition: 10 (7/10), there were 25 other impressions with typeface inscriptions below image Other impressions can be found in the following museum collection: An unsigned impression is in the collection of Centre Pompidou, Paris, with the typeset title caption below Accession No. AM 1976-1118 (3) A signed impression is in the Metropolitan Museum of Art From the MMA entry: "Edition without typography printed...

Broadway Parade Lithograph, 1934-1935 Signed, titled and editoned in pencil (see photos) Printer: George Miller, New York Edition: 100, plus trial proofs Printed on cine collee Creat...

Road to Gayhead (Martha's Vineyard) Lithograph, 1935 Signed, dated. editoned & titled in pencil Printer: George Miller, New York A famous view of Martha's Vinyard Illustrated: Adams, Fig. 10.14, Page 234 Edition: 40 Printed chine collee Annotated: "For Gene" Reference: Lumsdaine & O'Sullivan 293 Incorporated in 1870. Aquinnah is the center of the Wampanoag Tribe of Gay Head Aquinnah. A Federally recognized Native American People. It is located at the tip of Martha's Vinyard. The Wampanoag Tribe of Gay Head Aquinnah became a federally acknowledged tribe on April 10, 1987 through the Bureau of Indian Affairs. The Tribe is preserving its history, culture and language. The town was called Gay Head until 1997 when the Tribe won the right to change the name of the town back to the original Wampanoag name. The smallest town on the Island at 5.4 miles of land area. The drive to Aquinnah is beautiful. You will notice that the three down-Island towns, Vineyard Haven, Oak Bluffs...

Untitled Floral Still Life Color lithograph, c. 1960's Signed lower right Numbered 1/10 lower left Most probably printed in Paris at Atelier Desjobert Provenance: Estate of the artist Dehn Heirs Image size: 14 x 9 11/16 inches Sheet size: 17 3/4 x 11 3/4 inches From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer...