Auguste Louis Lepère

L'Abreuvoir (The Watering Trough)

1910

Lingering Snow Mount Yoshino (Shidzuka-gozen toiling through snow after her last farewell to Yoshitsune) Signed: Ichiyusai Kuniyoshi ga Censor seal: Tanaka Series: Kenjo hakkei ...

Signed by the artist in pencil on the image Reference: Tim Mason and Lynn Mason, Helen Hyde (Washington, D.C.: Smithsonian Institution Press, 1991), 115, reproduced in color p. 68.

Signed, dated and titled in pencil by the artist from a very small edition.

Signed upper right in plate :Otto H Bacher" Signed with the estate stamp, Lugt 2002 recto lower right beneath image. October 20, 1880

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...

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...

Maurice de Vlaminck Original Lithograph Signed in the plate 1958 Title: House in Beauce Dimensions: 22 x 27 cm Reference: Catalogue raisonné Walterskirchen 275 Condition : Excellent Maurice de Vlaminck (1876 - 1958) Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...

TECHNICAL INFORMATION: Ed Ruscha Hollywood Fruit-Metrecal 1971 Silkscreen with grape and apricot jam and Metrecal 15 x 42 in. Artist’s Proof (one of 18 artist’s proofs, apart from t...

David Hockney 220 for 2020. Art Edition No. 101–200 ‘Self-Portrait in My Living Room’, 2021 11-color inkjet print on cotton-fiber archival paper 45.7 × 102.6 cm (18 × 40.4 in) Signed, numbered and dated Edition number 47 (from an edition of 100) In mint condition Unframed From a small, picturesque farmhouse in the rich fields and meadows of the northern French region of Normandy, Hockney followed and recorded the changing seasons throughout the COVID-19 pandemic. For the past decade, Hockney’s medium of choice has been the iPad and it was this technological instrument, he used to spontaneously depict impressions of the Norman landscape surrounding him. The two-year project entitled “220 for 2020” documents the passage of time by portraying the first spring blossoms, the smell of summer, the saturated colours of autumn, and the stark shapes of dark branches in winter time. This poetic undertaking represented a lifeline for the artist, and offered its viewers a message of hope in unprecedented times. As part of this project, Hockney included drawings from his “La Grande Cour, Rumesnil, Normadie, 26 Juli 2019”, sketchbook. These almost autobiographical accounts started in the vicinity of the artist’s Los Angeles home...

Silkscreen print. Produced in 2016, pressed on heavy quality stock paper. This series is limited to 50 pieces. Hand signed and numbered by Mehdi.

Offset lithograph on wove paper. Published in 2020 by Éditions du Centre Pompidou, Paris. Edition of 450. Within accompanying exhibition catalogue and slipcase. As issued. Signed and...

A hand painted three dimensional, Reverspective print, inspired by Paris. Produced in 2023. This print comes housed in a bespoke perspex display case. A limited edition of 75 pieces....