40 YEARS 40
our fortieth-anniversary show
our fortieth-anniversary show
- French School, Adoration of the Shepherds
- Mantegna, Bacchanal with a Wine Vat
- Robetta, Adoration of the Magi
- Dürer, The Virgin with the Infant Child
- van Leyden, St. Francis of Assisi
- Altdorfer, Dido
- after Raphael, Raphael and His Mistress
- Pencz, The Taking of Carthage
- Brosamer, Nude Woman in Profile
- Barocci, Madonna and Child in the Clouds
- Zucchi, Design for an Ornate Ceiling
- Goudt, Tobias with the Angel
- Della Bella, Le Reposoir du Saint Sacrement
- Rembrandt, Woman Sitting Half-Dressed Beside a Stove
- Challe, Fantasy Capriccio of a Roman Palace
- Piranesi, St. Peter’s
- Bonet, The Lady ta King Coffee; The Milk Woman
- Goya, Felipe IV, Rey de España
- Meryon, Saint-Etienne-du-Mont, Paris
- Whistler, Thames Police
- Manet, Queue Devant la Boucherie (Siège de Paris)
- Doré, Children’s Ward in a London Hospital
- Buhot, La Maison Maudite
- Guérard, Eventail: Oiseaux dans les Roseaux
- Rivière, La Village de La Chapelle
- Auriol, Bois Frissonnants
- Lepère, Les Laveuses (Les Blanchisseuses)
- Toulouse-Lautrec , La Troupe de Mademoiselle Eglantine
- Cezanne, Self Portrait at the Easel
- Sloan, Turning Out the Light
- Goodwin, Durham with the Cathedral
- Villon, Musiciens Chez le Bistro
- Kollwitz, Selbstbildnis
- McBey, Farm Scene at Hatford
- Beckmann, Umarmung (Embrace)
- Drewes, The City (Carcassonne)
- Sutherland, Number Forty-Nine
- de Chirico, Scuola di Gladiatori II
- Friedlander, 3 A.M.
- Marsh, Coney Island Beach
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25. Henri Rivière (1864-1951) La Village de La Chapelle, vu des Tertres (Saint-Briac) |
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(click on image to print)
La Village de La Chapelle, vu des Tertres (Saint-Briac)
Color woodcut, 1890, from Paysages Breton, 217 x 342 mm., Toudouze XVII and p. 27 (ill.); Fields XVII. Fine impression, printed with water-based inks from seven blocks on old laid japan paper with full margins, and signed with Rivière’s red initial stamp within the image. The edition size was 20 and the blocks were destroyed after printing the edition. According to Fields, Rivière’s color woodcuts were unique in blending the landscapes of Brittany with Japanese-style perspective, high horizons and flat color. They precede his color lithographs by some years and impressions of them are extremely rare today.
