Search Results: Fin De Siecle from L'Estampe Originale

Color woodcut. From the edition of 40 impressions Published by Édouard Pelletan. Artist's red stamp within the image in lower left margin Margins: 16 ½ x 12 3/8 Image:10 ½ x 7 ¾ Southard 11 Signed in pencil by Harry van der Zee, Bottini's collaborator lower right margin Signed, dated, numbered and dedicated "pour mon ami Ravel" George Bottini 97' in pencil Prov: Joseph-Maurice Ravel (March 7, 1875 - December 28, 1937) was a French composer, most famous for "Bolero"

Paris, Imprimerie Champenois, 1897 Published lithograph printed in purple, red and rust with a proof in puple with a remarque lower right Image 13 x 10 with approximately 16 x 14 full margins Both LITHOGRAPHS as published in the deluxe edition on Japan paper of L'ESTAMPE MODERNE Number 3, juillet 1897. Millman, p.124, Weisberg/Cate, p.112, No. 173. L'Estampe Moderne (1897-1898), a more commercial and later version of L'Estampe Originale, was a monthly publication of print portfolios, producing twenty-four issues containing four color lithographs each Only a few prints exhibiting Japanese influence were issued, mostly by minor artists, yet they were equally as beautiful in image as their predecessors Sold framed L’estampe moderne was edited by Charles Masson and H Piazza, and printed and published by Imprimerie Champenois, Paris Each monthly instalment came in a paper cover (which itself incorporated an original lithograph by Alphonse Mucha, and contained four original lithographs Each… Read More

Paris, Verneau, 1900. Lithograph in colors from PAYSAGE PARISIENS. 52.5 X 82cm.From the series OF 8 PLATES "published in 1900 "PAYSAGES PARISIENS" . Each was published in an edition of 1000 plus 25 signed in pencil. In fine condition with full margins.

London, The Studio Magazine, 1896. Embossed lithograph in colors. Contained within the bound edition of THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART. 1894,1896,1897,1898 and 1899, with their blind stamp lower right. 5 ¼ x 8 7/8 (188mm x 226mm). The book is bound in green cloth with gilt letters on the cover and spine. In good condition. The Studio Magazine was an illustrated fine arts and decorative arts magazine, founded in Britain in 1893, which exerted a major influence on the development of the Art Nouveau movement. The earlier editions usually had original lithographs and etchings bound into the publication as it is here. Charles Holme, Editor. In the later 20th century the annuals gave increasing prominence to architecture and interior design and in the mid-1960s it was retitled Decorative Art in Modern Interiors. The annual ceased publication in 1980.

1894. As published in L'estampe Originale. Album VII. A four color embossed (Gypsograph) lithograph. 10 1/4 x 15 9/16, margins: 16 ¾ x 23 ½. Signed and numbered by Charpentier. Printed by Eugene Verneau. With the Blind stamp of L'estampe Originale. Stein and Karshan 14. Slightly mat burned in the margins but colors are excellent as original. One of the most important artists, together with Pierre Roche to use gypsography in the 1890s. The process involves using plaster moulds and hand-colored damp paper to create the image after which ink is applied directly to the mould, as with a wood-engraving. Later, he replaced the plaster moulds with metal to achieve more detail in the relief. He used the method in book form for the first time here. The effect is one of medals set within the typographic layout

4to. 254 pp. Original wrappers bound in. 1/4 Morocco with marbled boards and endpaper. T>E>G> Text in French. In good condition.

Paris, VERNEAU, 1900. Lithograph in colors from the suite PASAGES PARISIENS. 52.5 X 82cm. From the series OF 8 PLATES "published in 1900 "PAYSAGES PARISIENS". Each was published in an edition of 1000 plus 25 signed in pencil. In fine condition with full margins.

SONREL, ELIZABETH (b.Tours 1874 d.Sceaux 1953). WINTER. (ALLEGORY OF WINTER). 1901 Lithograph Image: 21½ x 15¼ Margins: 23 x 16 Rare. 4¼" repaired tear in the upper right margin Signed in the stone and dated On Creme Velin with good margins Born in Tours, France, Sonrel was the daughter of the painter Stephan Sonrel and was the student of famous artist Jules Lefebvre at his Ecole des Beaux-Arts in Paris She showed at the Salon des Artistes francais in Paris from 1893 to 1941 She embraced the Symbolist themes of mysticism mythology and idealism and combined it with a delicate style reminiscent of Botticelli Elisabeth Sonrel was rediscovered, after many years of neglect , in a sale at Drouot in November of 1974 At that time one of her paintings sold for $100,000ff, an astounding sum for a Symbolist artist at that timeShe illustrated the poems of Charles Cros L'archet [394] $1,600.00