Jean-Pierre Cassigneul

"La Lettre" Large color lithograph

1990

This art work titled "Murmures" 1989 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and inscribed E.A (Artist Proof) in pencil by the artist. Referenced and pictured in the artist's catalogue raisonne by Mazo. plate #31. The image size is 23.80 x 30 inches, framed size is 39.25 x 44.5 inches. Custom framed in a wooden gold frame, with fabric matting and gold color spacer. It is in excellent condition. About the artist: Jean-Pierre Cassigneul is a French painter known for his serene portraits of women in hats that recall the French Post-Impressionist avant-garde, including the works of Pierre Bonnard and Edouard Vuillard. He was born on July 13, 1935, in Paris. He studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, He exhibited at the Beaubourg Center in Paris in 1977 and solo as of 1952, on a regular basis in France but also in New York, and Tokyo and worldwide Jean PierreCassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. 1952 First private exhibition at the Galerie Lucy Kroge in Paris aged 17. 1954 Enters into the Académie Charpentier and then decides to study under Jean Souverbie at the Ecole des Beaux-Arts de Paris. 1955 He passes his entrance exam a year later and enrolls at the "Ecole Nationale Superieure" des Beaux-Arts de Paris. Works in Chapelain-Midy’s studio. 1958 First exhibition at the Galerie des Beaux-Arts. 1959 Appointed member of the Salon d’Automne. 1956–1960 Instructed by the French painter Roger Chapelain-Midy. 1963 Present at the Salon de la Jeune Peinture for the first time. 1964 Private exhibition at the Galerie Tivey-Faucon, Paris. Meets Kiyoshi Tamenaga, who becomes his art dealer for Japan. 1965 Creation of his first lithographic works. Exhibition at the Galerie Bellechasse, Paris. 1966 Present at the International Exhibition of Figurative Art, Tokyo. Exhibition at the Galerie Bellechasse, Paris. 1968 Exhibition at the Galerie Juarez in Palm Beach, USA. Private exhibition at la Galerie Vital, Paris. 1969 Exhibition of lithographic works at the Mitsukoshi Gallery, Tokyo. 1970 January : Exhibition at the Wally Findlay Gallery, Palm Beach, then in New York. First trip to Japan, where he stays for three months. Important private exhibition at the Mitsukoshi Gallery, Tokyo. 1973 Exhibition at the Wally Findlay Gallery in Palm Beach, then in New York. Private exhibition at the Tamenaga Gallery, Tokyo. Meets art publisher Alain Mazo. 1974 Private exhibition at the Galerie Wally Findlay, Paris, then in New York. 1975 Exhibition at the Wally Findlay Gallery, New York. 1976 Private exhibition at the Mitsukoshi Gallery, Tokyo. Publication of the album “Parcs” by Editions Mazo-Paris. 1977 June : Private exhibition at the Galerie René Kieffer, Paris Private show of paintings and pastels at the Galerie Wally Findlay, Paris. 1978 Retrospective exhibition of lithographic works at Vision Nouvelle. June-July : Exhibition at the Wally Findlay Gallery, New York. Important private showat the Mitsukoshi Gallery, Tokyo. 1980 Designs his first tapestry, executed by Atelier 3...

This art work titled "Paroles Dans un Parc (Words in the Park)" 1989 is an original color lithograph on Arches paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and inscribed E.A. (Artist Proof in French) in pencil by the artist. The image size is 22.15 x 30.25 inches, sheet size is 24.75 x 32.85 inches. It is in excellent condition, has never been framed. About the artist: Jean-Pierre Cassigneul is a French painter known for his serene portraits of women in hats that recall the French Post-Impressionist avant-garde, including the works of Pierre Bonnard and Edouard Vuillard. He was born on July 13, 1935, in Paris. He studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, He exhibited at the Beaubourg Center in Paris in 1977 and solo as of 1952, on a regular basis in France but also in New York, and Tokyo and worldwide Jean PierreCassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. 1952 First private exhibition at the Galerie Lucy Kroge in Paris aged 17. 1954 Enters into the Académie Charpentier and then decides to study under Jean Souverbie at the Ecole des Beaux-Arts de Paris. 1955 He passes his entrance exam a year later and enrolls at the "Ecole Nationale Superieure" des Beaux-Arts de Paris. Works in Chapelain-Midy’s studio. 1958 First exhibition at the Galerie des Beaux-Arts. 1959 Appointed member of the Salon d’Automne. 1956–1960 Instructed by the French painter Roger Chapelain-Midy. 1963 Present at the Salon de la Jeune Peinture for the first time. 1964 Private exhibition at the Galerie Tivey-Faucon, Paris. Meets Kiyoshi Tamenaga, who becomes his art dealer for Japan. 1965 Creation of his first lithographic works. Exhibition at the Galerie Bellechasse, Paris. 1966 Present at the International Exhibition of Figurative Art, Tokyo. Exhibition at the Galerie Bellechasse, Paris. 1968 Exhibition at the Galerie Juarez in Palm Beach, USA. Private exhibition at la Galerie Vital, Paris. 1969 Exhibition of lithographic works at the Mitsukoshi Gallery, Tokyo. 1970 January : Exhibition at the Wally Findlay Gallery, Palm Beach, then in New York. First trip to Japan, where he stays for three months. Important private exhibition at the Mitsukoshi Gallery, Tokyo. 1973 Exhibition at the Wally Findlay Gallery in Palm Beach, then in New York. Private exhibition at the Tamenaga Gallery, Tokyo. Meets art publisher Alain Mazo. 1974 Private exhibition at the Galerie Wally Findlay, Paris, then in New York. 1975 Exhibition at the Wally Findlay Gallery, New York. 1976 Private exhibition at the Mitsukoshi Gallery, Tokyo. Publication of the album “Parcs” by Editions Mazo-Paris. 1977 June : Private exhibition at the Galerie René Kieffer, Paris Private show of paintings and pastels at the Galerie Wally Findlay, Paris. 1978 Retrospective exhibition of lithographic works at Vision Nouvelle. June-July : Exhibition at the Wally Findlay Gallery, New York. Important private showat the Mitsukoshi Gallery, Tokyo. 1980 Designs his first tapestry, executed by Atelier 3...

This art work titled "Le Lac du Bois de Boulogne" 1991 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and numbe...

This art work titled "Lise" 1991 is an original color lithograph on Arches paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and numbered 300/300 in pencil by the artist.. The image size is 10.75 x 19.75 inches, framed size is 24,5 x 32.5 inches. Custom framed in a wooden gold leaf frame, with fabric matting and gold color spacer. It is in excellent condition. About the artist: Jean-Pierre Cassigneul is a French painter known for his serene portraits of women in hats that recall the French Post-Impressionist avant-garde, including the works of Pierre Bonnard and Edouard Vuillard. He was born on July 13, 1935, in Paris. He studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, He exhibited at the Beaubourg Center in Paris in 1977 and solo as of 1952, on a regular basis in France but also in New York, and Tokyo and worldwide Jean PierreCassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. 1952 First private exhibition at the Galerie Lucy Kroge in Paris aged 17. 1954 Enters into the Académie Charpentier and then decides to study under Jean Souverbie at the Ecole des Beaux-Arts de Paris. 1955 He passes his entrance exam a year later and enrolls at the "Ecole Nationale Superieure" des Beaux-Arts de Paris. Works in Chapelain-Midy’s studio. 1958 First exhibition at the Galerie des Beaux-Arts. 1959 Appointed member of the Salon d’Automne. 1956–1960 Instructed by the French painter Roger Chapelain-Midy. 1963 Present at the Salon de la Jeune Peinture for the first time. 1964 Private exhibition at the Galerie Tivey-Faucon, Paris. Meets Kiyoshi Tamenaga, who becomes his art dealer for Japan. 1965 Creation of his first lithographic works. Exhibition at the Galerie Bellechasse, Paris. 1966 Present at the International Exhibition of Figurative Art, Tokyo. Exhibition at the Galerie Bellechasse, Paris. 1968 Exhibition at the Galerie Juarez in Palm Beach, USA. Private exhibition at la Galerie Vital, Paris. 1969 Exhibition of lithographic works at the Mitsukoshi Gallery, Tokyo. 1970 January : Exhibition at the Wally Findlay Gallery, Palm Beach, then in New York. First trip to Japan, where he stays for three months. Important private exhibition at the Mitsukoshi Gallery, Tokyo. 1973 Exhibition at the Wally Findlay Gallery in Palm Beach, then in New York. Private exhibition at the Tamenaga Gallery, Tokyo. Meets art publisher Alain Mazo. 1974 Private exhibition at the Galerie Wally Findlay, Paris, then in New York. 1975 Exhibition at the Wally Findlay Gallery, New York. 1976 Private exhibition at the Mitsukoshi Gallery, Tokyo. Publication of the album “Parcs” by Editions Mazo-Paris. 1977 June : Private exhibition at the Galerie René Kieffer, Paris Private show of paintings and pastels at the Galerie Wally Findlay, Paris. 1978 Retrospective exhibition of lithographic works at Vision Nouvelle. June-July : Exhibition at the Wally Findlay Gallery, New York. Important private showat the Mitsukoshi Gallery, Tokyo. 1980 Designs his first tapestry, executed by Atelier 3...

This art work titled "La Douceur du Printemps" 1991 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and inscribe...

This art work titled "Femme a l'Ombrelle" 1972 is an original color lithograph on Arches paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and numbered 29/150 in pencil by the artist. Referenced and pictured in the artist's catalogue raisonne by Sauret plate #42. The image size is 22.25 x 16 inches, framed size is 36.15 x 28.25 inches. Custom framed in a wooden gold leaf frame, with fabric matting and gold color spacer. It is in excellent condition. About the artist: Jean-Pierre Cassigneul is a French painter known for his serene portraits of women in hats that recall the French Post-Impressionist avant-garde, including the works of Pierre Bonnard and Edouard Vuillard. He was born on July 13, 1935, in Paris. He studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, He exhibited at the Beaubourg Center in Paris in 1977 and solo as of 1952, on a regular basis in France but also in New York, and Tokyo and worldwide Jean PierreCassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. 1952 First private exhibition at the Galerie Lucy Kroge in Paris aged 17. 1954 Enters into the Académie Charpentier and then decides to study under Jean Souverbie at the Ecole des Beaux-Arts de Paris. 1955 He passes his entrance exam a year later and enrolls at the "Ecole Nationale Superieure" des Beaux-Arts de Paris. Works in Chapelain-Midy’s studio. 1958 First exhibition at the Galerie des Beaux-Arts. 1959 Appointed member of the Salon d’Automne. 1956–1960 Instructed by the French painter Roger Chapelain-Midy. 1963 Present at the Salon de la Jeune Peinture for the first time. 1964 Private exhibition at the Galerie Tivey-Faucon, Paris. Meets Kiyoshi Tamenaga, who becomes his art dealer for Japan. 1965 Creation of his first lithographic works. Exhibition at the Galerie Bellechasse, Paris. 1966 Present at the International Exhibition of Figurative Art, Tokyo. Exhibition at the Galerie Bellechasse, Paris. 1968 Exhibition at the Galerie Juarez in Palm Beach, USA. Private exhibition at la Galerie Vital, Paris. 1969 Exhibition of lithographic works at the Mitsukoshi Gallery, Tokyo. 1970 January : Exhibition at the Wally Findlay Gallery, Palm Beach, then in New York. First trip to Japan, where he stays for three months. Important private exhibition at the Mitsukoshi Gallery, Tokyo. 1973 Exhibition at the Wally Findlay Gallery in Palm Beach, then in New York. Private exhibition at the Tamenaga Gallery, Tokyo. Meets art publisher Alain Mazo. 1974 Private exhibition at the Galerie Wally Findlay, Paris, then in New York. 1975 Exhibition at the Wally Findlay Gallery, New York. 1976 Private exhibition at the Mitsukoshi Gallery, Tokyo. Publication of the album “Parcs” by Editions Mazo-Paris. 1977 June : Private exhibition at the Galerie René Kieffer, Paris Private show of paintings and pastels at the Galerie Wally Findlay, Paris. 1978 Retrospective exhibition of lithographic works at Vision Nouvelle. June-July : Exhibition at the Wally Findlay Gallery, New York. Important private showat the Mitsukoshi Gallery, Tokyo. 1980 Designs his first tapestry, executed by Atelier 3...

This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928. This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960 These are not individually hand signed or numbered. On BFK Rives French velin art paper Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse. He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist. From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married. In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis. Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov. During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes. In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales, with the face of his friend Vuillard, who had died two years earlier. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capoue near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday. Bonnard particularly used the model of Japanese art in a series...

Shungo Sekiguchi, (Japanese, 1911-2002): Lithograph in color on Rives paper Hand signed in pencil lower right, hand numbered It appears to be the village of Montmarte in Paris This was published by the Guilde de la Gravure, Paris, France and bears their GG blindstamp. They were a mid century French art publisher and published many masters including Raoul Dufy, Max Erns, Jean Hans Arp, Ruffino Tamayo, Balthus, Gino Severini and Leonard Tsuguharu Foujita. Shungo Sekiguchi was born 1911 in Japan. In 1932 Shungo Sekiguchi contributed to the print series "One Hundred Views of Great Tokyo" (Dai Tokyo hyakkei). Prints from watercolors published by Kaneda Shoten (Nihon Hanga Ken-kyusho). In 1935, Sekiguchi moved to Paris, France to study at the prestigious Ecole des Beaux Art of France with a scholarship of the French government. He studied together with two other Ecole de Paris Japanese artists, Takanori Ogisu and Tsuguji Foujita. He exhibited at the prestigious "Salon d'Automne" in Paris. In 1940 when Paris was occupied by the German Nazis, Shungo Sekiguchi returned to Japan, but kept his ties with France. In 1952 he exhibited at the famous Salon d'Automne and received an award. In 1959, he received an award at the Vicci International Art Contest. In 1964, he received the Diplome d'Honneur des at Jobiji International Art Show. His retrospective exhibition has been held in many places in Japan. In 2002 the artist died in Japan. He is popular in Japan and several retrospective exhibitions were held in Japan. He was part of the Shin Hanga and Sosaku Hanga woodblock artists known for their woodcut prints and scrolls. Shin-hanga was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods. He also worked as a book illustrator and did the artwork for the French edition of Le démon doré by Ozaki Kohyo. He is included in Helen Merritt and Nanako Yamada's classic book "Guide to Modern Japanese Woodblock...

This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928. A walled city with a mosque with a minaret with Arabs standing in the foreground. This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960 These are not individually hand signed or numbered. On BFK Rives French velin art paper Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse. He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist. From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married. In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis. Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov. During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes. In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales...

Red Head Charles Levier, French (1920–2003) Date: circa 1970 Lithograph, signed and numbered in pencil Edition of 250 Image Size: 24 x 16 inches Size: 30 x 22 in. (76.2 x 55.88 cm)

Artist: Henri Matisse (after) Medium: Original lithograph Title: Lierre Portfolio: The Last Works of Henri Matisse Year: 1958 Edition: 2000 Framed Size: 17" x 17" Sheet Size: 14" x 1...

Artist: Marc Chagall Medium: Lithograph Title: Mother and Child before Notre Dame Portfolio: Verve Vol VII No. 27-28 Year: 1952 Edition: 6000 Signed: Unsigned Framed Size: 22" x 18 1...