1939 French RARE ART POSTER Affiche MOURLOT LITHOGRAPH 1789 Revolution NAUDIN

Description: DESCRIPTION : Up for auction is an EXTREMELY RARE and ORIGINAL LITHOGRAPHIC ART POSTER , Over 80 years old, Celebrating and commemorating 100 years 1789 - 1939 to the FRENCH REVOLUTION. The exact text is " CENT - CINOUANTENAIRE De La REVOLUTION FRANCAISE 1789 - 1939 " The LITHOGRAPHIC POSTER was designed by the acclaimed French PAINTER and DESIGNER - BERNARD NAUDIN whose printed SIGNATURE is clearly visible. The lithographic poster was published by MOURLOT PARIS. The EXQUISITE ARTISTIC LITHOGRAPH is quite nicely preserved inspite its over 80 years of age. The ON LINE price for such original NOURLOT lithographic poster in such very good condition reaches hundreds of Euros. Printed on paper. Not matted. Unfolded. Size around 20" x 28" ( 50 cm x 70 cm ) . Very good original used condition.Vivid and lively lithographic printing by MOURLOT . A few tiny imperfections , tears and creses in margings are nicely mended . Should look great with framing. ( Pls look at scan for accurate AS IS images ) .Will be sent in a special protective rigid sealed tube . AUTHENTICITY : This LITHOGRAPHIC MOURLOT POSTER is fully guaranteed ORIGINAL from 1939 ( Fully dated ) , It is NOT a reproduction or a recently made reprint or an immitation , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.PAYMENTS : Payment method accepted : Paypal & All credit cards.SHIPPING : Shipp worldwide via registered airmail is $ 29 . Will be sent in a special protective rigid sealed tube . Handling around 5-10 days after payment. Bernard Étienne Hubert Naudin (11 November 1876, Châteauroux - 7 March 1946, Paris) was a French painter, designer, caricaturist, and engraver. Contents 1Biography 2References 3Further reading 4External links Biography[edit] Bouvard and Pécuchet, from the satire by Flaubert He was born into a family of watchmakers and antique dealers. His father, who died in 1890, was also a painter and designer, and served as his first teacher.[1] In 1891, he created his first illustration (a 17th century bagpiper) for Jean Baffier, the publisher of a literary revue called Le Réveil de la Gaule. The following year, he published his first collection, composed of scenes from the province of Berry. In 1893, he moved to Paris and gave guitar lessons to pay for his studies at the Académie Colarossi, where he would later become a teacher. In 1897, he was able to obtain a scholarship from the city of Châteauroux, that enabled him to study at the École des beaux-arts de Paris with Léon Bonnat.[1] His first exhibition was at the Salon des Indépendants. Soon, he was able to divide his time between a workshop in Paris and his hometown. After 1906, he gave up painting to devote himself exclusively to drawing and printmaking; especially etching. His first large project involved illustrations for Peter Schlemihl (known in France as The Man Who Lost His Shadow), by Adalbert von Chamisso. He also contributed to revues, such as Le Cri de Paris. Most notably, he provided drawings and caricatures for the satirical journal L'Assiette au Beurre (The Butter Plate, equivalent to "pork barrel" in English). From 1909, he created several special issues; on war, homelessness, childhood abuse, and prisons. In 1910, at the request of Georges Peignot, he designed and engraved a new type font, that was produced by the Deberny & Peignot foundry in 1911 and 1924. He organized his first personal exhibition of drawings and engravings at the Pavillon de Marsan in 1912. Two years later, at the beginning of World War I, he was drafted to be an infantry sergeant and became a war illustrator; depicting life in the trenches. His frontline work earned him a knighthood in the Legion of Honor.[2] Cover from L'Assiette au Beurre; a 1905 issue on military prisons In 1924, he was commissioned to design the Olympic diploma for the Summer Olympics in Paris. The following year, he provided all of the illustrations for a catalog celebrating the 150th anniversary of the perfumery, Houbigant, retracing the history of the establishment created by Jean-François Houbigant in 1775. He also designed posters and labels. Diderot, Edgar Allan Poe, André Suarès, Georges Duhamel and Anatole France are among the many authors whose works he illustrated. A memorial plaque has been placed on his home in the 14e arrondissement. **** Bernard Étienne Hubert Naudin, né à Châteauroux le 11 novembre 1876, et mort à Noisy-le-Grand le 7 mars 1946, est un peintre, dessinateur, caricaturiste et graveur français2. Sommaire 1Vie et œuvre 2Élèves 3Distinctions 4Notes et références 5Annexes 5.1Bibliographie 5.2Liens externes Vie et œuvre[modifier | modifier le code] Bernard Étienne Hubert Naudin est le fils de Sylvain Célestin Naudin, bijoutier, et d'Adèle Léontine Marie3. Né dans une famille d'horlogers et d'antiquaires, son père, qui meurt en 1890, était également dessinateur et peintre ; il fut son premier professeur4. En 1891, il collabore à la revue littéraire de Jean Baffier Le Réveil de la Gaule en y publiant le dessin d'un cornemuseux du xviie siècle. L'année suivante, il illustre son premier ouvrage, L'amour au village, scènes de mœurs berrichonnes. En 1893, il s'installe à Paris et donne des cours de guitare pour payer ses cours de dessin à l'Académie Colarossi où il devient professeur. Nanti d'une bourse de la ville de Châteauroux, il est reçu à l'École des beaux-arts de Paris en 1897 où il suit les cours de Léon Bonnat4. Il expose des toiles à sujets militaires au Salon des indépendants, dont La Charge de Valmy et Engagement d'avant-garde (Châteauroux, musée Bertrand). Bientôt il partage son temps entre un atelier à Paris et sa ville natale où il participe au cabaret « Le Pierrot noir ». Il épouse Marie Louise Albessard en 19065. À la même époque, il délaisse la peinture pour se consacrer au dessin et à la gravure, surtout l'eau forte : il illustre L'Homme qui a perdu son ombre de Chamisso. Il collabore à des revues comme Le Cri de Paris puis, par le biais de Jules Grandjouan, à L'Assiette au beurre de décembre 1904 à mai 1909, donnant des numéros spéciaux : « Assez » (sur la guerre russo-japonaise), « La Mouise » (sur les clochards), « L’Enfance coupable » (sur l'enfance maltraitée), « Biribi » (le bagne). Il donne également une dizaine de dessins aux Temps Nouveaux de Jean Grave (1905-1914). En 1910, à la demande de Georges Peignot, il dessine et grave une police de caractères que la fonderie Deberny et Peignot sortira en 1924 (décliné en trois styles, le Naudin romain, italique et champlevé). En 1912, il monte sa première exposition personnelle de gravures et de dessins au pavillon de Marsan à Paris. En 1914, la guerre mondiale éclate et il est mobilisé comme sergent d’infanterie. Il devient illustrateur de guerre et montre la vie des tranchées4. Son engagement sur le front de l'Aisne lui vaut la Légion d'honneur. En 1924, il est chargé de dessiner le diplôme des Jeux olympiques d'été. En 1925, il dessine toutes les illustrations du catalogue du cent cinquantième anniversaire de la parfumerie Houbigant, retraçant l'histoire la maison créée par Jean-François Houbigant en 1775. Il est célèbre pour ses représentations de déshérités, de scènes de la vie berrichonne, du monde du cirque, de la musique, de la vie mondaine, du sport… Il réalise également des affiches, des étiquettes. Il illustre des œuvres de Diderot, Edgar Poe, André Suarès, Georges Duhamel, Anatole France, etc. Plaque au 13 bis rue Campagne-Première (Paris). Une plaque posée sur la façade du no 13 bis rue Campagne-Première (14e arrondissement de Paris) rend hommage à l'artiste qui habita cette adresse. Il est mort à Noisy-le-Grand à l'âge de 69 ans. **** The French Revolution (French: Révolution française [ʁevɔlysjɔ̃ fʁɑ̃sɛːz]) was a period of radical political and societal change in France that began with the Estates General of 1789 and ended with the formation of the French Consulate in November 1799. Many of its ideas are considered fundamental principles of liberal democracy,[1] while phrases like Liberté, égalité, fraternité reappeared in other revolts, such as the 1917 Russian Revolution,[2] and inspired campaigns for the abolition of slavery and universal suffrage.[3] Its values and the institutions it created dominate French politics to this day.[4] The causes are generally agreed to be a combination of social, political and economic factors, which the existing regime proved unable to manage. In May 1789, widespread social distress led to the convocation of the Estates-General, which was converted into a National Assembly in June. The Assembly passed a series of radical measures, including the abolition of feudalism, state control of the Catholic Church and extending the right to vote. The next three years were dominated by the struggle for political control, exacerbated by economic depression and social unrest. External powers like Austria, Britain and Prussia viewed the Revolution as a threat, leading to the outbreak of the French Revolutionary Wars in April 1792. Disillusionment with Louis XVI led to the establishment of the First French Republic on 22 September 1792, followed by his execution in January 1793. In June, an uprising in Paris replaced the Girondins who dominated the National Assembly with the Committee of Public Safety, headed by Maximilien Robespierre. This sparked the Reign of Terror, an attempt to eradicate alleged "counter-revolutionaries"; by the time it ended in July 1794, over 16,600 had been executed in Paris and the provinces. As well as external enemies, the Republic faced a series of internal Royalist and Jacobin revolts; in order to deal with these, the French Directory took power in November 1795. Despite a series of military victories, the war caused economic stagnation and political divisions; in November 1799, the Directory was replaced by the Consulate, which is generally seen as the end of the Revolutionary period. **** French Revolution 1787–1799 Alternate titles: Revolution of 1789 Print Cite Share More BY The Editors of Encyclopaedia Britannica | View Edit History FAST FACTS 2-Min Summary Facts & Related Content Louis XVI: execution by guillotine See all media Date: 1787 - 1799 Location: France Participants: bourgeoisie Montagnard peasant philosophe sansculotte Major Events: Coup of 18–19 Brumaire Civil Constitution of the Clergy French Revolutionary wars Reign of Terror Thermidorian Reaction ... (Show more) Key People: Marie-Thérèse-Louise de Savoie-Carignan, princess de Lamballe Louis XVI Marie-Antoinette Napoleon I Maximilien Robespierre ... (Show more) See all facts and data → TOP QUESTIONS What was the French Revolution? Why did the French Revolution happen? Why did the French Revolution lead to war with other nations? How did the French Revolution succeed? French Revolution, also called Revolution of 1789, revolutionary movement that shook France between 1787 and 1799 and reached its first climax there in 1789—hence the conventional term “Revolution of 1789,” denoting the end of the ancien régime in France and serving also to distinguish that event from the later French revolutions of 1830 and 1848. Origins of the Revolution The French Revolution had general causes common to all the revolutions of the West at the end of the 18th century and particular causes that explain why it was by far the most violent and the most universally significant of these revolutions. The first of the general causes was the social structure of the West. The feudal regime had been weakened step-by-step and had already disappeared in parts of Europe. The increasingly numerous and prosperous elite of wealthy commoners—merchants, manufacturers, and professionals, often called the bourgeoisie—aspired to political power in those countries where it did not already possess it. The peasants, many of whom owned land, had attained an improved standard of living and education and wanted to get rid of the last vestiges of feudalism so as to acquire the full rights of landowners and to be free to increase their holdings. Furthermore, from about 1730, higher standards of living had reduced the mortality rate among adults considerably. This, together with other factors, had led to an increase in the population of Europe unprecedented for several centuries: it doubled between 1715 and 1800. For France, which with 26 million inhabitants in 1789 was the most populated country of Europe, the problem was most acute. A larger population created a greater demand for food and consumer goods. The discovery of new gold mines in Brazil had led to a general rise in prices throughout the West from about 1730, indicating a prosperous economic situation. From about 1770, this trend slackened, and economic crises, provoking alarm and even revolt, became frequent. Arguments for social reform began to be advanced. The philosophes—intellectuals whose writings inspired these arguments—were certainly influenced by 17th-century theorists such as René Descartes, Benedict de Spinoza and John Locke, but they came to very different conclusions about political, social, and economic matters. A revolution seemed necessary to apply the ideas of Montesquieu, Voltaire, or Jean-Jacques Rousseau. This Enlightenment was spread among the educated classes by the many “societies of thought” that were founded at that time: masonic lodges, agricultural societies, and reading rooms. It is uncertain, however, whether revolution would have come without the added presence of a political crisis. Faced with the heavy expenditure that the wars of the 18th century entailed, the rulers of Europe sought to raise money by taxing the nobles and clergy, who in most countries had hitherto been exempt, To justify this, the rulers likewise invoked the arguments of advanced thinkers by adopting the role of “enlightened despots.” This provoked reaction throughout Europe from the privileged bodies, diets. and estates. In North America this backlash caused the American Revolution, which began with the refusal to pay a tax imposed by the king of Great Britain. Monarchs tried to stop this reaction of the aristocracy, and both rulers and the privileged classes sought allies among the nonprivileged bourgeois and the peasants. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now Although scholarly debate continues about the exact causes of the Revolution, the following reasons are commonly adduced: (1) the bourgeoisie resented its exclusion from political power and positions of honour; (2) the peasants were acutely aware of their situation and were less and less willing to support the anachronistic and burdensome feudal system; (3) the philosophes had been read more widely in France than anywhere else; (4) French participation in the American Revolution had driven the government to the brink of bankruptcy; (5) France was the most populous country in Europe, and crop failures in much of the country in 1788, coming on top of a long period of economic difficulties, compounded existing restlessness; and (6) the French monarchy, no longer seen as divinely ordained, was unable to adapt to the political and societal pressures that were being exerted on it. Aristocratic revolt, 1787–89 The Revolution took shape in France when the controller general of finances, Charles-Alexandre de Calonne, arranged the summoning of an assembly of “notables” (prelates, great noblemen, and a few representatives of the bourgeoisie) in February 1787 to propose reforms designed to eliminate the budget deficit by increasing the taxation of the privileged classes. The assembly refused to take responsibility for the reforms and suggested the calling of the Estates-General, which represented the clergy, the aristocracy, and the Third Estate (the commoners) and which had not met since 1614. The efforts made by Calonne’s successors to enforce fiscal reforms in spite of resistance by the privileged classes led to the so-called revolt of the “aristocratic bodies,” notably that of the parlements (the most important courts of justice), whose powers were curtailed by the edict of May 1788. broadside limiting the sale of pamphlets A 1789 broadside reflecting the royal government's attempt to limit the sale of pamphlets on the eve of the French Revolution. The Newberry Library, Wing Fund, 1977 (A Britannica Publishing Partner) Calonne, detail of an engraving by Brea, 18th century, after a portrait by Elisabeth Vigee-Lebrun Courtesy of the Bibliothèque Nationale, Paris During the spring and summer of 1788, there was unrest among the populace in Paris, Grenoble, Dijon, Toulouse, Pau, and Rennes. The king, Louis XVI, had to yield. He reappointed reform-minded Jacques Necker as the finance minister and promised to convene the Estates-General on May 5, 1789. He also, in practice, granted freedom of the press, and France was flooded with pamphlets addressing the reconstruction of the state. The elections to the Estates-General, held between January and April 1789, coincided with further disturbances, as the harvest of 1788 had been a bad one. There were practically no exclusions from the voting; and the electors drew up cahiers de doléances, which listed their grievances and hopes. They elected 600 deputies for the Third Estate, 300 for the nobility, and 300 for the clergy.**** About Fernand Mourlot Fernand Mourlot was born in Paris in 1895. He grew up in the family print shop but it wasn’t until he took over in the early 1920s that he would change the fabric of printing forever. His influence fostered a resurgence of lithography, revealing it as a new avenue for expression and a new realm of possibilities for likes of Pablo Picasso, Henri Matisse, Marc Chagall, Joan Miró, Georges Braque, Fernand Léger, and Alberto Giacometti to enrich their own work as well as fine art in general. Fernand cultivated the lithograph as a painter’s medium and the family studio on Rue Chabrol became a hub where he could invite artists to work directly on the stone, as if creating a poster. In 1937, the studio produced two posters (based on paintings by Matisse and Bonnard) for the Maitres de l’Art indépendant exhibition at the Petit Palais. The posters were of such excellent quality that it was clear they had attained the height of printing mastery. Fernand retired in the mid 1970s but his name remains to this day synonymous with rebirth of lithography. ****** Jacques Mourlot Hometown: Paris, France Jacques Mourlot was born in Paris in 1933 and grew up at the print shop with his father Fernand. In his time outside of his work at the studio, Jacques was a talented trumpet player and part of the house band of La Caveau de La Huchette in the late 1940s. In 1950, Jacques joined the French army and was stationed in North Africa attached to the French Foreign Legion. After being wounded in battle and spending a year of recovery in the hospital, Jacques returned to Paris in 1954 to assist Fernand in running the print shop. In addition to working at the studio, Jacques pursues a career as a race car driver. Soon his technical prowess and achievements in printing garnered respect by artists and master printers alike as Jacques matured into Fernand’s closest assistant. His attention to detail and nuanced technique made him an invaluable asset in both the artistic and technological process of the family studio, introducing new approaches to the development of printing. In 1966, Jacques was designated by Fernand to Pioneer the family name in New York after a tour with the Smithsonian showed the Mourlot Collection throughout the United States. After moving with his wife Liliane and son Eric, Jacques established Bank street studio where he went on to create beautiful pieces with artists such as Claes Oldenburg, Roy Lichtenstein, Ellsworth Kelly, Ben Shahn, Alex Katz, James Rosenquist, and Lee Krasner. For six years he worked and printed in this studio as well as participated in projects for prestigious institutions including the Smithsonian, MoMa, and the Met. Upon his father Fernand’s retirement in the mid 1970s, Jacques and his family returned to Paris to take over the main studio. It was here where he continued to help finish the later works of Chagall, Miró, Buffet, and those of many other artists until his retirement in 1990. ******Mourlot Studios was a commercial print shop founded in 1852 by the Mourlot family and located in Paris, France. It was also known as Imprimerie Mourlot, Mourlot Freres and Atelier Mourlot. Founded by Francois Mourlot, it started off producing wallpaper. Later, his son Jules Mourlot would expand the business to handle the production of chocolate labels for companies such as Chocolat Poulain, as well as ledgers, maps and stationary. Starting in the 1920s, Jules' son, Fernand Mourlot, converted one of the locations into a studio dedicated to printing fine art lithography. History[edit] One of the most important contribution of the Mourlot Studio was to be the art poster. For the Eugène Delacroix exhibition in 1930, the Daumier exhibition and the Manet exhibition at the French National Museums, Mourlot became the place where posters were prepared and produced as works of art in their own right. Another important feature would be the production of fine art, limited edition lithographs. The first painters to create lithographs at Mourlot were Vlaminck and Utrillo, despite most artists abandoning the once-popular 19th-century lithography, during the first part of the 20th century. Lithography, which was invented by Aloys Senefelder at the end of the 18th century, reached fame when it was adopted by artists such as Jules Chéret, Toulouse-Lautrec, Bonnard and Vuillard in the 1880s. Beginning in the 1930s, Fernand Mourlot (the grandson of the founder of Mourlot studios) began inviting a new generation of artists to work directly on lithography stones (in the same manner as one does when creating a poster). This expansion of fine art into the printing realm began a previously non-existent partnership between artist and printer which remains to this day. King & McGaw's 2015 Mourlot exhibit in London In 1937, the studio created two posters, one by Bonnard and one by Henri Matisse, for the Maitres de l'Art indépendant exhibition at the Petit Palais. Both artists were so impressed by the posters' excellent quality that Mourlot studio became the leading lithographic printer for fine artwork. That same year, the studio also began a long collaboration with the editor Tériade, who founded the legendary art review "Verve." After the Second World War, Mourlot assisted Matisse, Braque, Bonnard, Rouault and Joan Miró in the creation of important lithographs for the review. In 1945, Pablo Picasso selected the Mourlot studio for his return to the lithographic medium. Set up in a corner of the shop, it would soon become his home for several months at a time. Between 1945 and 1969, Picasso created over four hundred lithographs at Mourlot. This collaboration would break new ground in the lithographic process and lend a new dimension to Picasso's work.[1] In May 2015 King & McGaw used a pop-up shop to showcase lithographic posters from the Mourlot Studios archives in Soho, London.[2] Contributions from artists such as Picasso, Matisse, Masson, Leger, Miro, Le Corbusier, Yves Klein, Raoul Dufy and René Magritte[3][4][5] were included in the exhibit. **** Mourlot Studios, a commercial print shop, has been in operation since 1852 owned and operated by the Mourlot Family located in Paris, France. In the 1920's, production was dedicated to printing fine art lithography under the direction of Fernand Mourlot, and later expanded to include Verve, a periodical art review magazine. Over the years it has been known as Imprimerie Mourlot, Mourlot Freres and Atelier Mourlot. Owner of Rare Posters, Bernard Rougerie has been tailoring his comprehensive collection of fine art museum and exhibition posters and prints, servicing all levels of the industry from individual collectors to big box retailers. Over the past 20 years of being in business Rougerie has cultivated and nurtured close relationships with some of the worlds top print shops including Mourlot,**** Galerie Charpentier French Hôtel Jean Charpentier; Galerie Jean Charpentier Works of Art Biography Bibliography Related Content Biography Established by dealer Jean Charpentier [1891-1976] and located on the rue du Faubourg Saint-Honoré in Paris, this commercial gallery was known as the Hôtel Jean Charpentier or the Galerie Jean Charpentier. In 1941 the business was bought by the architect Raymond Nacenta, who operated it under the name Galerie Charpentier until 1961. Nacenta put on a seris of thematic exhibitions, including 100 portraits de femmes, Les célébrités françaises. In 1954, Nacenta began regular exhibitions of the l'Ecole de Paris. Some records of the Galerie Charpentier are located at the Documentation of the Centre Georges Pompidou in Paris. .[citation n ebay5556 + 5556a

Price: 275 USD

Location: TEL AVIV

End Time: 2024-08-28T18:02:37.000Z

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