Paul GavarniPrudence - Lithograph By Paul Gavarni - mid 19th centurymid 19th century
mid 19th century
About the Item
- Creator:Paul Gavarni (1804 - 1899, French)
- Creation Year:mid 19th century
- Dimensions:Height: 10.63 in (27 cm)Width: 6.7 in (17 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: T-1417711stDibs: LU650312895872
Paul Gavarni
Paul Gavarni was the nom de plume of Sulpice Guillaume Chevalier, a French illustrator who was born in Paris. The story is told that he took his name from Gavarnie in Luz-Saint-Sauveur, where he had taken a journey into the Pyrenees. His first published drawings were for the magazine Le Journal des Dames et des Modes. At the time, Gavarni was barely 30-years old. His sharp and witty drawings gave these generally commonplace and unartistic figures a life-likeness and an expression which soon won him a name in fashionable circles. He gradually gave greater attention to this more congenial work, and ultimately stopped working as an engineer to become the director of Journal Des Gens du Monde. Gavarni followed his interests and began a series of lithographed sketches in which he portrayed the most striking characteristics, foibles and vices of the various classes of French society. The letterpress explanations attached to his drawings were short, but were forcible and humorous, if sometimes trivial, and were adapted to the particular subjects. At first, he confined himself to the study of Parisian manners, more especially those of the Parisian youth. Most of his best work appeared in Le Charivari. Some of his most scathing and most earnest pictures, the fruit of a visit to London, appeared in L'Illustration. He also illustrated Honoré de Balzac's novels and Eugène Sue's Wandering Jew. Among his illustrated works were Les Lorettes, Les Actrices, Les Coulisses, Les Fasizionables, Les Gentilshommes bourgeois, Les Artistes, Les Débardeurs, Clichy, Les Étudiants de Paris, Les Baliverneries Parisiennes, Les Plaisirs champêtres, Les Bals masqués, Le Carnaval, Les Souvenirs du Carnaval, Les Souvenirs du bal Chicard, La Vie des Jeunes Hommes and Les Patois de Paris. He had now ceased to be the director of Des Gens du monde but he was engaged as an ordinary caricaturist of Le Charivari and, while making the fortune of the paper, he made his own. His name was exceedingly popular and his illustrations for books were eagerly sought for by publishers. A single frontispiece or vignette was sometimes enough to secure the sale of a new book. Always desiring to enlarge the field of his observations, Gavarni soon abandoned his once-favorite topics. He no longer limited himself to such types as the Lorette and the Parisian student or to the description of the noisy and popular pleasures of the capital but turned his mirror to the grotesque sides of family life and of humanity at large. But while showing the same power of irony as his former works, enhanced by a deeper insight into human nature, they generally bear the stamp of a bitter and even sometimes gloomy philosophy. At one point Gavarni was imprisoned for debt in the debtors' prison of Clichy. After his release, he published his experiences in a work called L'Argent (Money). Gavarni visited England in 1849. On his return, his impressions were published in the book Londres et Les Anglais, illustrés par Gavarni (1862) by Émile de la Bédollière. Most of these last compositions appeared in the weekly paper L'Illustration. In 1857, he published in one volume the series entitled Masques et visages and in 1869, about two years after his death, his last artistic work, Les Douze Mois, was given to the world. Gavarni was much engaged, during the last period of his life, in scientific pursuits and this fact must perhaps be connected with the great change which then took place in his manner as an artist. He sent several communications to the Académie des Sciences, and until he died on 23 November 1866, he was eagerly interested in the question of aerial navigation. It is said that he made experiments on a large scale to find the means of directing balloons, but it seems that he was not so successful in this line as his fellow artist, the caricaturist and photographer, Nadar.
- ShippingRetrieving quote...Ships From: Grasse, France
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- Soldier - Lithograph - 19th CenturyLocated in Roma, ITSoldier is an original hand-colored Lithograf realized by an Anonymous artist of the XIX century. In good condition except for a rip on the lower margin that doesn't affect the imag...Category
19th Century Modern Figurative Prints
MaterialsLithograph
- Toilette Militaire - Lithograph - 1888sLocated in Roma, ITToilette militaire is an original modern artwork realized in the 1880s. Original colored lithograph on paper. Sheet dimensions: 70 x 50 cm. Passepartout is included. Mint condit...Category
1880s Modern Figurative Prints
MaterialsLithograph
- The Scream - Lithograph by Alfonso Avanessian - 1989Located in Roma, ITThe Scream is an original lithograph on ivory-colored cardboard, realized by Alfonso Avanessian in 1989. Hand-signed on the lower right in pencil:...Category
1980s Modern Portrait Prints
MaterialsLithograph
- The Japanese - Lithograph by Alfonso Avanessian - 1989Located in Roma, ITThe Japanese is an original lithograph on ivory-colored cardboard, realized by Alfonso Avanessian in 1989. Hand-signed and unnumbered, on the lower right: Avanessian -89. Very goo...Category
1960s Modern Portrait Prints
MaterialsLithograph
- Cavalier - Hand-Colored Lithograph - 19th CenturyLocated in Roma, ITCavalier is an original hand-colored lithograph on paper realized by an Anonymous artist of the XIX century, it represents a cavalier in his particular costume with shield through ha...Category
19th Century Modern Portrait Prints
MaterialsLithograph
- Soldier - Lithograph by Alfonso Avanessian - 1989Located in Roma, ITSoldier is an original lithograph on ivory-colored cardboard, realized by Alfonso Avanessian in 1989. Hand-signed on the lower right and dated: Av...Category
1980s Modern Portrait Prints
MaterialsLithograph
- Jewish Shtetl Mother-in-law Klezmer Wedding Dance Judaica Lithograph Yiddish WPABy William GropperLocated in Surfside, FLHand signed in pencil and numbered. A very small edition. Old Lower East Side of New York or East European Shtetl. Jewish Shtetl Hasidic Klezmer Musicians. humorous Yiddish Chassidic art. The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original color lithograph print is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...Category
Mid-20th Century Modern Figurative Prints
MaterialsLithograph
- Portrait head of a woman, Original French Mourlot Modernist Lithograph 1950sBy Françoise GilotLocated in Surfside, FLRare Original limited edition lithograph, printed by Mourlot in Paris, France on vélin du Marais watermarked paper. this is not signed as issued. This is from a signed and numbered ...Category
1950s Modern Figurative Prints
MaterialsLithograph
- La Capeline de Paille d'Italie (The Italian Straw Hat).By Henri MatisseLocated in Storrs, CTLa Capeline de Paille d'Italie (The Italian Straw Hat). 1923. Lithograph. Duthuit 430. 17 3/4 x 15 3/4 (sheet 23 1/8 x 17 7/8). Trial proof, apart fr...Category
Early 20th Century Modern Portrait Prints
MaterialsLithograph
- Portrait Woman Original French Mourlot Modernist Lithograph 1951 Francoise GilotBy Françoise GilotLocated in Surfside, FLRare vintage limited edition Stone Lithograph printed at Mourlot in Paris. this is from a signed and numbered portfolio but the individual sheets are not hand signed and numbered. Francois Gilot, (1921-) studied English Literature at Cambridge University, and then, encouraged by her father, studied international law, though she secretly also took art lessons at the same time. In 1943, during her first exhibition in Paris, Gilot (then 21) met Pablo Picasso (who was 61) for the first time. In 1946, Gilot started a 10-year relationship with the notorious womanizer and had two of his children,Claude and Paloma. As a result of her relationship with Picasso, Gilot "became both a witness and a participant in one of the last great periods of the modern art movement in Europe. Their circle included poets, philosophers, writers, and many of the legends of the art world, such as Braque, Chagall, Cocteau and Matisse. In 1953, Gilot left Picasso and the home they shared in Vallauris and moved back to Paris. "Lithographs are printed from stones and each stone is an echo of my artistic voice," said Gilot. "Many artists use their art as a personal catharsis. I have never done that. I am more intellectual. Each artistic process -- oils, lithographs, monotypes -- allows me a different freedom and suits a different mood." While Gilot did her first lithograph in 1950 at the Mourlot Atelier, the same studio used by Picasso, Henri Matisse, Marc Chagall, Jean Miro and Jean Dubuffet, it was in the 1970s that she really began to experiment with the process. "In the beginning I turned to lithography because I wanted to show off my technical skills. Now I am more interested in color," said Gilot. "I also thought that lithographs would make my works more accessible to young collectors." While her oils are priced up to $100,000, her lithographs begin at $2,000 and her monotypes range from $1,000 to $2,500. HONORS Officier de la Legion d'Honneur, Presidence de la Republique, France Chevalier de la Legion d'Honneur, Ministere de la Culture, France SELECTED MUSEUM COLLECTIONS Metropolitan Museum of Art, New York Musee d'Art Moderne, Paris Musee Picasso, Antibes, France National Acadamy of Design, New York Musee de Tel Aviv, Tel Aviv, Israel Museum of Modern Art, New York Bibliotheque Nationale, Paris (complete collection of original prints) SELECTED IMPORTANT EXHIBITION CATALOGUES 2012 Françoise Gilot, Paris - Vallauris, 1943 - 1953, The Gagosian Gallery, New York Essays: John Richardson, Françoise Gilot, Charles Stuckey and Michael Cory 2011 Françoise Gilot, at 90, Drawings 1941 - 2010, Kunstsammlungen Chemnitz, Germany Essays: Françoise Gilot and Louise Tolliver Deutschman (exhibition curator) 2006 Françoise Gilot, Portraits From a Life, The Elkon Gallery Inc., New York 2003 Françoise Gilot Painting...Category
1950s Modern Portrait Prints
MaterialsLithograph
- Hiding Head Original French Mourlot Modernist Lithograph, 1950s Francois GilotBy Françoise GilotLocated in Surfside, FLFrancois Gilot, (1921-) studied English Literature at Cambridge University, and then, encouraged by her father, studied international law, though she secretly also took art lessons a...Category
1950s Modern Portrait Prints
MaterialsLithograph
- J.A.M. Whistler with the White Lock.By Thomas Robert WayLocated in Storrs, CTJ.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil.Category
19th Century Modern Portrait Prints
MaterialsLithograph