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Click here to subscribeGERALD MEARES (1911-1975) 'Berber Village', framed oil on board, signed lower right. 42cm x 60cm. Meares travelled extensively to North Africa where he was heavily influenced by painters such as Matisse. His work features in numerous private and public collections including that of the late Duke of Edinburgh. Provenance: Judy Hines Collection.
GERALD MEARES (1911-1975) 'Berber Girl', framed oil on board, signed lower right. 71cm x 50cm. Meares travelled extensively to North Africa where he was heavily influenced by painters such as Matisse. His work features in numerous private and public collections including that of the late Duke of Edinburgh. Provenance: Judy Hines Collection.
A RARE AND COLLECTIBLE GOLD 'PETITE TÊTE CARÉE' PENDANT, BY ANDRÉ DERAIN (1880-1954)A rare 23K gold pendant, conceived circa 1965, stamped with the artist's signature, incised 'Exemplaire d'auteur 1/2', with the Francois and Pierre Hugo reference numbered '1702' and '2915', stamped with Francois Hugo's hallmark, published by Ateliers Hugo in 2012, within its original wooden fitted case, length 7.9cm, width 5.9cmFor a comparable piece by Andre Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d'artistes. Artist’s Jewels, Hommage à Francois Hugo, p. 89Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life. Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War II, he modelled some medallions in terracotta which were later cast in bronze. Although Derain continued to pursue his passion for sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to new heights by his friendship with Francois Hugo.In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount to much and the pieces do not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 carat gold by Hugo, but Derain tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and legendary artist by eventually making editions in 1966 and 1967.Jewellery made by artists is a rarity. This is not simply down to the fact that there have been only a select number of painters and sculptors who have managed to master the skill involved with making jewellery, but more so because the fruits of their work remain largely buried in private collections. Artist’s jewellery may be given as a gift to a lover, passed down as a family heirloom, or simply kept by the artist themselves. Jewellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process. The term ‘art jewellery’ itself signifies that the work is handmade and unique. Never mass produced, such jewellery is rather the result of a collaboration between the artist and a jeweller who is trained in the field, or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different world. As with any creative endeavour, the jewellery becomes an extension of the artist’s wider body of work and offers an insight into a realm of design aside from painting or sculpture. The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and personal motivations of three prolific early 20th century artists – Jean Cocteau, André Derain and Pablo Picasso. All three worked under the helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in the world of jewellery-making.The great-grandson of the eminent writer Victor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a host of widely celebrated French cultural figures. François was born in Rovezzano, Italy, in 1899, and trained as an engineer in his early years before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he worked as a silver and goldsmith from 1936 onwards. Throughout the Second World War and following into the late 40s and 50s, François Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin. His first attempt at creating jewellery had in fact come before the War, in the form of a brief and experimental collaboration with his close friend Andre Derain, but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s, Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of ‘Bijoux d’Artistes’. Initially, all the artists who Hugo worked with were long-time friends, and included the likes of Max Ernst, Jean Arp, Jean Cocteau, Andre Derain, Dorothea Tanning and Pablo Picasso amongst others. Hugo ingeniously proposed to them to make reduced versions of their works which would be crafted in his workshop and could serve as wearable jewellery. Over sixty-five years later, François’ 32-year-old grandson Nicolas now runs the family business, following in his father and grandfather’s footsteps as the third generation of Ateliers Hugo to create intricate treasures and develop new collections with contemporary artists at their goldsmith workshop in the South of France. The 65th anniversary of Ateliers Hugo was celebrated in 2020 and marked by new collaborations, including one with American artist Josh Sperling, released in April of this year.Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 60.80gplease note that this pendant was authenticated verbally by the workshop HUGO and a certificate of authenticity would be made by the workshop if purchased.
Verve: The French Review of Art, edited by E. Tériade, nos. 8, 13, 17/18, text in English and French, some colour offset-lithographs by Matisse, Bonnard and others (see below), several double-page, some printed on both sides of the sheet, numerous other plates and illustrations, many colour, some tipped in, original pictorial wrappers, a few very small tears along joints or corners, extremities a little rubbed, no.13 spine chipped at foot, 4to, Paris, 1940-47.⁂ Comprising: no.8 offset-lithographs by Rouault (5, 1 double-page), Braque (2), Bonnard (1, double-page) and Matisse (3), covers by Matisse; no.13 offset-lithographs by Matisse (11, 5 double page), covers by Matisse; nos.17/18 offset-lithographs by Bonnard (12, 5 double page), covers by Bonnard.
Original vintage advertising poster titled Vive Lorjou et Ses Amis Salon d’Automne / Long Live Lorjou and His Friends Salon d’Automne. The stylised image features a red figure against a yellow and blue background. The names of artists are written across the bottom of the poster with the title in red. Established in 1903, Salon d’Automne is an association of artists based in Paris - their annual art exhibition has featured artists such as Cezanne, Rodin, Matisse, Derain, and Marcel Duchamp. Excellent condition. Country of issue: France, designer: Bernard Lorjou, size (cm): 78x54, year of printing: 1970s
Kees van Dongen, "Das Treffen im Wald"Reiter im Gespräch mit einer jungen Dame, in parkähnlicher Umgebung, Farblithographie, um 1960, unter der Darstellung im Stein rechts signiert "van Dongen", und links in Blei nummeriert "168/290" sowie Prägestempel "GG", knitterspurig, rückseitig Reste alter Montierung, Darstellungsmaße ca. 31 x 50,5 cm, Blattmaße ca. 38 x 56 cm. Künstlerinfo: eigentl. Cornelis Theodorus Marie van Dongen, frz. Maler niederl. Herkunft (1877 Delfshaven bei Rotterdam bis 1968 Monte Carlo), 1892-94 Studium an der Akademie der Bildenden Künste und Technische Wissenschaften in Rotterdam, 1897 mehrmonatiger Parisaufenthalt, ließ sich 1899 in Paris nieder und Tätigkeit für verschiedene Zeitungen, 1904 Ausstellung bei Ambroise Vollard, 1905 Teilnahme am Salon d´Automne, 1905 Anschluss an die „Fauves“ um Henri Matisse und Maurice de Vlaminck, 1908-12 zahlreiche Reisen, 1909 Mitglied der Künstlergruppe Brücke, ab 1929 frz. Staatsbürger, siedelte 1957 nach Monte Carlo um, behielt jedoch sein Atelier in Paris. Quelle: Thieme-Becker, Vollmer und Wikipedia.
nach Henri Matisse, "Tänzerin"tanzende nackte Frau mit erhobenem Arm, Lithographie, links unten im Stein signiert und datiert "H. Matisse (19)49", rückseitig typographischer Text und in Blei bezeichnet "Henri Matisse (1869-1954) s/w Litho "danseuse" (n. e. Kohlezeichnung) Maeght Editeur, Paris 1952, i. d. Dst. signiert + dat.", etwas fleckig und Spuren von Klebeetiketten, Darstellungsmaße ca. 36,5 x 17 cm, Blattmaße ca. 38 x 28 cm. Künstlerinfo: frz. Maler, Graphiker und Bildhauer (1869 Le Cateau-Cambrésis bis 1954 Ciemiez bei Nizza), 1887-89 Jurastudium in Paris, 1891 Aufgabe seiner Juristenkarriere und ging nach Paris, hier Studium an der École des Arts Décoratifes, 1893 Wechsel an die École des Beaux-Arts zu Gustave Moreau, 1900 erste, jedoch erfolglose Ausstellungen, schloss sich den „Les Fauves“ an und wurde so zum Begründer des Fauvismus, Bekanntschaft mit Pablo Picasso, Beschäftigung mit dem Holzschnitt und der Lithographie, ab 1941 schwere Erkrankung, von der er sich nicht mehr erholte, im Krankenlager entstanden großformatige Papiercollagen. Quelle: Wikipedia und Internet.
nach Henry Matisse, "Danseuse Créole"farbenfrohe, an Blumen erinnernde Komposition, Farblithographie, im Stein signiert und datiert "Matisse Juni (19)50", erschienen bei Mourlot Paris im Jahr 1958, rückseitig typographisch betitelt "Danseuse Créole", minimal fleckig, Darstellungsmaße ca. 31,8 x 19,2 cm, Blattmaße ca. 35,7 x 26,3 cm. Künstlerinfo: frz. Maler, Graphiker und Bildhauer (1869 Le Cateau-Cambrésis bis 1954 Ciemiez bei Nizza), 1887-89 Jurastudium in Paris, 1891 Aufgabe seiner Juristenkarriere und ging nach Paris, hier Studium an der École des Arts Décoratifes, 1893 Wechsel an die École des Beaux-Arts zu Gustave Moreau, 1900 erste, jedoch erfolglose Ausstellungen, schloss sich den „Les Fauves“ an und wurde so zum Begründer des Fauvismus, Bekanntschaft mit Pablo Picasso, Beschäftigung mit dem Holzschnitt und der Lithographie, ab 1941 schwere Erkrankung, von der er sich nicht mehr erholte, im Krankenlager entstanden großformatige Papiercollagen. Quelle: Wikipedia und Internet.
Three Circa 1940s Bound Dissertations, titled The Spot Pattern in Textile Design by MA Browne 1949, Dress Fabric in Relation to Dress Design by Jean Shaw, including Courtauld and Ascher fabric samples and examples by Graham Sutherland, Henry Moore and Matisse, and European Handkerchiefs by Hazel F Atkinson for her Fine Art Degree at the University of Durham (3)
Ludwig Bock (1886-1971), studierte ab 1906 an der Kunstakademie, u. a. als Meisterschüler Heinrich von Zügels. 1908 beteiligte er sich erstmals an einer Ausstellung der Secession und wurde 1917 deren Mitglied. Von prägendem Einfluss war 1913 eine Paris-Reise, wo er die französische Moderne, Werke von Henri Matisse und Paul Cézanne kennenlernte. Ab 1918 beschickte Bock regelmäßig Ausstellungen, besonders im Glaspalast. 1929 erhielt er den Rom-Preis und das hiermit verbundene Villa Massimo-Stipendium. Stillleben mit Äpfeln, Birne und Kännchen, Öl/Lwd., u. li. sign. u.dat. 1917, 46 x 54 cm, ger. 70 x 78 cm
ANDRE DERAIN (French, 1880-1954 ) colour lithographs, c. 1939 - Au Jardin d'Allah, seven prints on two facing sheets, published in Paris for Verve, and printed by Mourlot Freres. Paris, sheets 34.7 x 25.2cms, (I) 20 x 14cms or smaller (2 sheets) Auctioneers note: Derain was a founder of the fauvism movement, along with Matisse, with whom he worked in 1905. This work was created for Verve Magazine, published in 1939 Verve was founded in 1937 as a showcase for work by the day's best artists, produced by the finest printers. These pieces were printed in Volume 1, number 4.
AFTER HENRI MATISSE (1869-1954) 'Nu Bleu, Le Bras Leve Coloured print 35cm by 26cm Gallery label verso for Redfern Gallery, dated 1959 Condition Report : mount foxed at bottom, thrips at top. the print itself fairly good, though a little bowed at the bottom through damp Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Colette (French 1873-1954) La Vagabonde, 1951, André Sauret (Ed) Imprimerie Nationale, Paris, soft bound with wrapper and slip case, text in French, lithograph portrait of Colette by Henri Matisse (French 1869-1954) has been framed separately, size of the book 23 x 17 x 3 cmAfter Henri Matisse (French 1869-1954) portrait of Colette, lithograph, signed in the plate, measurements 22 x 15.5 cm (SH), frame 48 x 36.5 cm
After Henri Matisse 'La Perruche et La Sirène' lithograph in colours, 1954, from 'The Last Works', printed by Mourlot after Matisse's cutouts 35.6 x 78cm, unframedCondition report: Originally folded in three places, these have creased over time - see illustrations. A triangular crease at the bottom, between the middle and right section. Some time staining to the paper, it appears a creamy colour rather than bright white, but may have always been off-white. Pencil writing top right of front page, above title, from previous owner. Despite this, image remains bright and bold.
Sigmund Pollitzer (British, 1913-1982) Statue, signed and dated 70, pen and wash, 51cm x 66cm Born in London in 1913, Arthur Sigmund Pollitzer was a member of the Pollitzer family who owned the major warehouse and transportation company Beck and Pollitzer He went to Germany aged 17 to study language, art and architecture and was much influenced by contemporary continental art, especially the Bauhaus. He returned to England and became an architectural draughtsman, working on many large London projects including the Cumberland Hotel. From 1933-1938 he became Chief designer at Pilkington Glass at St. Helens and was responsible for engraved and etched architectural glass for numerous public buildings and ocean liners including the Queen Mary. After war service in the Army, he moved to Cyprus where he lived and worked before moving in the late fifties to Positano in Italy. During the late forties and fifties, he exhibited work not only in Cyprus and Italy, but had many shows in London at the Redfern Gallery, Hanover Gallery, Roland Browse and Delbanco amongst others, as well as museums and art galleries around the country. He shared his shows with most of the great names of contemporary art of the immediate post war years. His sales were considerable over three decades, and he was also an avid collector of contemporary work. A particular Summer Exhibition at the Redfern Gallery for the July to September Exhibition 1948 his name is seen alongside Matisse, Moore, Nash, Picasso, Piper, Sutherland, Lautrec and Renoir to name but a few. As a self-taught artist, his own original eye, with a true mastery of line and form. He died in 1982 The Victoria and Albert Museum hold examples of his glass designs.
Sigmund Pollitzer (British, 1913-1982) Head of a boy, signed and dated 68, pen and wash, 41cm x 56cm Born in London in 1913, Arthur Sigmund Pollitzer was a member of the Pollitzer family who owned the major warehouse and transportation company Beck and Pollitzer He went to Germany aged 17 to study language, art and architecture and was much influenced by contemporary continental art, especially the Bauhaus. He returned to England and became an architectural draughtsman, working on many large London projects including the Cumberland Hotel. From 1933-1938 he became Chief designer at Pilkington Glass at St. Helens and was responsible for engraved and etched architectural glass for numerous public buildings and ocean liners including the Queen Mary. After war service in the Army, he moved to Cyprus where he lived and worked before moving in the late fifties to Positano in Italy. During the late forties and fifties, he exhibited work not only in Cyprus and Italy, but had many shows in London at the Redfern Gallery, Hanover Gallery, Roland Browse and Delbanco amongst others, as well as museums and art galleries around the country. He shared his shows with most of the great names of contemporary art of the immediate post war years. His sales were considerable over three decades, and he was also an avid collector of contemporary work. A particular Summer Exhibition at the Redfern Gallery for the July to September Exhibition 1948 his name is seen alongside Matisse, Moore, Nash, Picasso, Piper, Sutherland, Lautrec and Renoir to name but a few. As a self-taught artist, his own original eye, with a true mastery of line and form. He died in 1982 The Victoria and Albert Museum hold examples of his glass designs.
Sigmund Pollitzer (British, 1913-1982) Head of a Lady, signed and dated 70, pen and wash, 48cm x 64cm Born in London in 1913, Arthur Sigmund Pollitzer was a member of the Pollitzer family who owned the major warehouse and transportation company Beck and Pollitzer He went to Germany aged 17 to study language, art and architecture and was much influenced by contemporary continental art, especially the Bauhaus. He returned to England and became an architectural draughtsman, working on many large London projects including the Cumberland Hotel. From 1933-1938 he became Chief designer at Pilkington Glass at St. Helens and was responsible for engraved and etched architectural glass for numerous public buildings and ocean liners including the Queen Mary. After war service in the Army, he moved to Cyprus where he lived and worked before moving in the late fifties to Positano in Italy. During the late forties and fifties, he exhibited work not only in Cyprus and Italy, but had many shows in London at the Redfern Gallery, Hanover Gallery, Roland Browse and Delbanco amongst others, as well as museums and art galleries around the country. He shared his shows with most of the great names of contemporary art of the immediate post war years. His sales were considerable over three decades, and he was also an avid collector of contemporary work. A particular Summer Exhibition at the Redfern Gallery for the July to September Exhibition 1948 his name is seen alongside Matisse, Moore, Nash, Picasso, Piper, Sutherland, Lautrec and Renoir to name but a few. As a self-taught artist, his own original eye, with a true mastery of line and form. He died in 1982 The Victoria and Albert Museum hold examples of his glass designs.
OLGA TOBRELUTS (RUSSIAN B. 1970)Matisse Dance,2003acrylic on canvas132 x 162 cm (52 x 63 3/4 in.)signed and dated lower right; signed, dated, and titled on versoPROVENANCEAcquired directly from the artist by the present ownerPrivate Collection, New YorkCONDITIONThe painting appears in very good original condition. A vertical line along the top edge, resulting from the stretcher, measuring 24 cm (9 1/2 in.) in length, minor rubbing to the upper left and lower left corners. Not inspected under UV.unframedN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
LLOYD MOYLAN (AMERICAN 1893-1963) Portrait of Otto Spaethoil on panel 36 x 36 cm (14 x 14 in.)PROVENANCECollection of Otto and Elois Spaeth, noted industrialists, art collectors and patrons of American artThence by descent in the familyLOT NOTESEloise Spaeth, along with her husband, Otto Spaeth, was a prominent art collector, who had an outsize influence on the development of appreciation for American art and art museums, in the middle of the 20th Century. Her husband, Otto Spaeth, was the founder of the Dayton Tool and Die Company, amongst other major manufacturers, and was a Vice President of the Whitney Museum of American Art. Together, they established a collection of leading European and American modernists of the day, including works by Pablo Picasso, Henri Matisse, Alexander Calder, Edward Hopper, Georgia O'Keefe, Stuart Davis, and Charles Sheeler. In addition to being a major collector, she was also active in the American Federation of Art, serving as the traveling exhibtions chairwoman, and the Venice Biennale American Pavilion. She also authored widely published books on American Art, including American Art Museums: An Introduction to Looking (1960). The Spaeth's were also personal friends and patrons of many leading artists of the day. The Smithsonian Archives of American Art is in possession of the Spaeth's correspondence and papers.CONDITION Observed in frame, the painting appears in good condition. Overall visible surface dust to the naked eye. Scattered minor losses visible to the navy ground. With no significant issues to report otherwise. Inspection under UV shows no apparent sign of restoration. framed dimensions: 48 x 46 cm (18 7/8 x 18 1/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
LOUIS BOUCHE (AMERICAN 1896-1969)Mrs. Otto Spaeth, circa 1940soil on canvas74 x 51 cm (29 1/8 x 20 1/8 in.) signed lower right PROVENANCECollection of Otto and Elois Spaeth, noted industrialists, art collectors and patrons of American artThence by descent in the familyEXHIBITEDAddison Gallery, Phillips Academy, Andover, MassachusettsWadsworth Atheneum, Hartford, Connecticut, 1949 Exhibition of Member's Portraits,Cosmopolitan Club, New York, NY, January 21-February 8, 1980 RELATED LITERATURE Eloise Spaeth, American Art Museums and Galleries. An introduction to looking, illustrated on flyleaf LOT NOTESEloise Spaeth, along with her husband, Otto Spaeth, was a prominent art collector, who had an outsize influence on the development of appreciation for American art and art museums, in the middle of the 20th Century. Her husband, Otto Spaeth, was the founder of the Dayton Tool and Die Company, amongst other major manufacturers, and was a Vice President of the Whitney Museum of American Art. Together, they established a collection of leading European and American modernists of the day, including works by Pablo Picasso, Henri Matisse, Alexander Calder, Edward Hopper, Georgia O'Keefe, Stuart Davis, and Charles Sheeler. In addition to being a major collector, she was also active in the American Federation of Art, serving as the traveling exhibtions chairwoman, and the Venice Biennale American Pavilion. She also authored widely published books on American Art, including American Art Museums: An Introduction to Looking (1960). The Spaeth's were also personal friends and patrons of many leading artists of the day. The Smithsonian Archives of American Art is in possession of the Spaeth's correspondence and papers.CONDITION Observed in frame, the painting appears in age-appropriate condition. Overall craquelure visible to the naked eye, resulting in flaking and scattered losses. Most severe of craquelure is visible against the cream walls. Inspection under UV shows scattered retouching to the craquelure. framed dimensions: 97 x 74 cm (38 1/4 x 29 1/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Französische Bibliophilie - - Henri - nach Matisse. (1869 Le Cateau - 1954 Nizza). Jazz. Mit 20 (15 doppelblattgroße) Farblithographien in Pochoirtechnik sowie lithographische Künstlerhandschrift. (Faksimile-Nachdruck von Mourlot). Am Ende: Dominique Szymusiak. "A propos du Jazz de Matisse". (Paris), Arcueil Cedex, Editions Anthèse, 2004. 146 S., 3 Bll., III S. Folio. Lose Bögen. OUmschlag in OLwd.-Mappe mit schwarzgepr. RTitel im OLwd.-Schuber. Eins von 1500 Exemplaren auf Lana Royal 250. - Vgl. Duthuit/Garnaud 22. - Brillanter Druck bei Idem-Mourlot unter der Leitung von Claude Draeger u. Mario Ferreri. Matisses Buch Jazz ist ein ikonisches Werk der Buchkunst, das aus zwanzig Illustrationen sowie Texten von Henri Matisse besteht. Es basiert auf Scherenschnitten und ist eines der wichtigsten Künstlerbücher des 20. Jahrhunderts. Das Buch ist der Höhepunkt für Matisse' Technik der "papiers découpés". One of 1500 copies. With 20 (15 double page) coloured lithographs and lithographic artist's manuscript. - Loose leaves in orig. wrappers in orig. cloth folder with black stamped title to spine in orig. cloth slip-case. Matisse's book Jazz is an iconic work of book art consisting of twenty illustrations and texts by Henri Matisse. It is based on silhouettes and is one of the most important artist's books of the 20th century. The book is the culmination of Matisse's technique of "papiers découpés".
Französische Bibliophilie - - Verve. The french review of Art. No. 5-6. La figure humaine. Mit einer Umschlagsgestaltung von Artistide Maillol u. 14 teils farb. Lithographien u.a. von Georges Braque, Georges Rouault, André Derain, Fernand Léger, Pierre Bonnard, Henri Matisse, Paul Klee. Paris, E. Teriade, 1939. OKt. (Rücken mit Defekten). Französ. Ausgabe. - Mit Textbeiträgen von Jean-Paul Sartre, Paul Valéry u.a. Mit Heliogravüren nach Photographien von Brassai, Herbert List. Die Lithographien wurden bei Mourlot gedruckt. - Dabei: Verve Vol. V, Nr. 17-18. Paris 1947. Mit 1 Lithogr. von Bonnard. 4°. Ill. OPp. (etw. bestoßen u. berieben). With one lithographed cover by Maillol and 14 lithographs by Braque, Rouault, Derain, Léger, Bonnard, Marisse and Klee. Original wrappers (spine with defects). - Added: Verve Vol. V, Nos. 17-18. Paris 1947. With 1 lithograph by Bonnard. 4°. Ill. original cardboard (somewhat bumped and rubbed).
Französische Bibliophilie - Matisse, Henri - - Poèmes de Charles d'Orléans. Manuscrits et illustrés par H. Matisse. Mit 100 Original-Farblithographien von H. Matisse. Paris, Tériade, 1950. 100 S., 2 Bl. 41,5 x 27,5 cm. Lose Lagen in illustrierter OBroschur (zarteleicht berieben). Eins von 1200 nummerierten Exemplaren, Druckvermerk vom Künstler signiert. - Rauch 174 - Cramer 36 - The Artist and the Book 202 - Garvey/Wick 35. - Der von Matisse auf die Lithosteine geschriebene Text wurde von ihm mit farbigen Bordüren und ganzseitigen Variationen der "Fleur de lys" geschmückt. Von besonderem zeichnerischen Reiz sind die fünf blattgroßen Porträts. - Alle Lithographien in Schwarz, Rot, Grün, Blau, Gelb und Violett, alle unter Aufsicht des Künstlers von Mourlot Frères gedruckt. - "In den fünfziger Jahren gestaltete Matisse mehrere Werke der älteren französischen Literatur mit Farblithographien. Davon ist das zu den Dichtungen von Charles d'Orléans (1394-1465), einem Neffen des französischen Königs Ludwig XI., besonders reichhaltig illustriert. Es zeichnet sich durch den vollständig von Matisse mit Feder geschriebenen, geradezu kalligraphischen Text aus, der dem Buch einen besonderen Charakter von Frische und Spontaneität verleiht ähnlich Matisses berühmten Buch Jazz, in dem ebenfalls strahlende Farbigkeit und flüssig-harmonisch geschriebener Text in ein wohlkalkuliert spannungsvolles Miteinander treten." (Lucius, Bücherlust 33) - Minimal gebräunt. 3 Lagen mit kleiner Knickspur im unteren Blattrand. Insgesamt sauberes und wohl erhaltenes Exemplar. One of 1200 numbered copies, impressum signed by artist. - With 100 original coloured lithographs. Loose sheets in illustr. orig. wrappers with orig. slip-case. - Fine copy. The text written by Matisse on the lithographic stones was decorated by him with coloured borders and full-page variations of the "Fleur de lys". The five full-page portraits are particularly attractive. - All lithographs in black, red, green, blue, yellow and violet, all printed under the supervision of the artist by Mourlot Frères. - "In the 1950s Matisse created several works of older French literature with colour lithographs. Of these, the one on the poems of Charles d'Orléans (1394-1465), a nephew of the French King Louis XI, is particularly richly illustrated. It is characterized by the almost calligraphic text, written entirely by Matisse with a pen, which gives the book a special character of freshness and spontaneity, similar to Matisse's famous book Jazz, in which likewise radiant colorfulness and fluidly harmoniously written text enter into a well-calculated, exciting cooperation. (Lucius, Bücherlust 33) - Overall minimally browned. 3 leaves with small crease mark in the lower margin. Clean and well preserved copy.
Französische Bibliophilie - Matisse, Henri - - Verve. Nr. 1, Dec. 1937. Mit 2 seit. Umschlagsillustration von H. Matisse u. Farblithogr. von Leger, Miro, Rattner und Borès. Paris, 1937. 4°. 112 S., 8 Bll. Illustr. OKart. (Umschlag berieben u. angestaubt). Mit Lithographien von Fernand Léger "L'Eau", von Joan Miro "L'Air", von Rattner "Le Feu", und von Borès "La Terre". Enthält außerdem photogr. Abbildungen von Man Ray, Brassai und Cartier. Illustr. original cardboard (cover rubbed and dusty). With lithographs by Fernand Léger "L'Eau", by Joan Miro "L'Air", by Rattner "Le Feu", and by Borès "La Terre". Also includes photogr. illustrations of Man Ray, Brassai and Cartier.
Französische Bibliophilie - Matisse, Henri - - Verve. Revue artistique et littéraire. Vol. VI, Nos 21 et 22. Mit 1 farb. OLithographie von Henri Matisse ("Vence 1944-48") u. zahlr., tls. farb. ganzs. Abb. Paris, 1948. Fol. OPp. mit farb. OUmschlag von Matisse (dieser berieben, etw. angeschmutzt u. mit kl. Läsuren). Anthonioz S. 196 ff (mit 9 Abb.) u. S. 363/64: "Ces tableaux ont été peints à Vence entre 1944 & 1948. J'ai dessiné les ornements dans le jardin. Henri Matisse." - Gutes Exemplar.
Französische Bibliophilie - Mourlot - - Prints from the Mourlot Press. Exhibition sponsored by the French Embassy. Circulated by the Traveling Exhibition Service of the National Collection of Fine Arts Smithonian Institution 1964-1965. Mit 20 Lithographien, meist farbig und blattgross, eine davon auf dem Umschlag. Paris, Mourlot 1964. Farbig illustrierte Originalbroschur. Nummeriertes Exemplar - Auf Velin von Rives. - Mit Lithographien von Chagall (Mourlot 415), Picasso (Mourlot 400), Miró (Mourlot 332/333), Beaudin, Estève, Matisse, Cocteau, Calder, Giacometti, Glarner, Jenkins, u. a. - Mit dieser wichtigen Ausstellung würdigte der französische Staat die Arbeit und Bedeutung eines der wichtigsten Drucker-Verleger des 20. Jahrhunderts. - Wohlerhalten. With 20 lithographs, mostly in colour and sheet size, one of them on the cover. Numbered copy - On wove paper (papier vélin) by Rives. - With lithographs by Chagall (Mourlot 415), Picasso (Mourlot 400), Miró (Mourlot 332/333), Beaudin, Estève, Matisse, Cocteau, Calder, Giacometti, Glarner, Jenkins and others - With this important exhibition the French state honoured the work and importance of one of the most important printer-publishers of the 20th century.
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