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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26. Georges Auriol (1863-1938) Bois Frissonnants |
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(click on image to print)
Bois Frissonnants
Lithograph in six colors, 1893, from L’Estampe-Originale, Cate & Boyer 2, Fields 7, 495 x 324 mm. Fine impression on pale brownish wove paper with full margins, signed and numbered in pencil from the edition of 100 and with the blind stamp of the publisher; a few tiny nicks at the sheet edges. The work was Auriol's first color lithograph and probably his best and most impressive. Auriol’s work, which was enormously influential then and now, exemplified Art Nouveau, particularly in the breaking down of the barriers between fine art and commercial design. He was a brilliant designer of type faces and monograms and ornament, and most of his work is to be found on sheet music covers, Christmas cards, theater programs and book and magazine covers. Even as regards this large and impressive lithograph, the inspiration and title come from the poem by Charles Cros, the printing of which is an integral part of the image.
