Watermark Ambroise Vollard, , hors-texte, with title, text and justification, copy 252 of 425, published by Editions de l'Etoile Filante, Paris, the full sheets, loose (as issued), some pale light- and time staining, minor foxing at the sheet edges, otherwise generally in good condition, in the original rust-coloured linen and parchment-covered portfolio metal clasp, and title in gilt on the front (portfolio).
710 x 540 x 110 mm.
Christie's Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Chapon & Rouault 54-111
About Georges Rouault
A pioneering expressionist painter (influenced by the German Expressionists, though not formally associated with that group), Georges Rouault created pictures recognizable for the thick black brushstrokes that outline their subjects, as in le lutteur, no. 3 (1913). Rouault’s works resemble the cloissonisme of decorative glasswork, a look often attributed to the artist’s teenage years spent as a glass painter’s apprentice. In 1891 Rouault enrolled at the École des Beaux-Arts and studied closely under Symbolist Gustave Moreau. He later associated with the Fauvists and collaborated with Henri Matisse and André Derain to organize the Salon d’Automne, an exhibition of progressive art rejected by the more conservative Paris Salon. But rather than create pleasing “armchair” pictures like those of many of his contemporaries, Rouault applied his rough painterly style to religious subjects, clowns, and circus performers, using these motifs to reflect on religion, morality, and modern life.
French, 1871-1958, Paris, France, based in Paris, France