The Color Evolution
colored prints through six centuries
colored prints through six centuries
- Anonymous, God Appearing to Moses
- Wolgemut , Christ Heals a Man
- da Trento, The Philosopher
- Goltzius, St. John
- Gaultier, Les Vespres
- Denon, The Abbot Zani
- Janinet, Marie Antoinette
- Janinet, La Prière Interrompue
- Janinet, Venus en Reflexion
- Janinet, Venus Desarment l’Amour
- Janinet, Le Sommeil d’Ariane
- Pollard & Jukes, Vaux-Hall
- Caldwell, The Blue Passion Flower
- Stadler, The White Lily
- Sutherland, American Bog Plants
- Debucourt, La Course, No. 3
- Debucourt, Le Joueur de Cornemuse
- Raffaëlli, L'Actrice en Scène
- Mariani, Woman on a Forest Pathway
- Maurin, Nu de Dos au Miroir
- Aman-Jean, Jeune Fille à La Chevelure
- Auriol, Concours de Dessin du Journal
- Toulouse-Lautrec, Carnot Malade!
- Rivière, La Vague
- Vallotton, Crimes et Châtiments
- Bonnard, Place Clichy
- Ibels, Le Grappin & L'Affranchie
- Roussel, Paysage avec Maison
- Roussel, Amours Jouant
- Müller, Interno (Young Girl with Cat)
- Orlik, View of Mecheln
- DuGardier, Sur la Plage
- Devambez, Poster for Cendrillon
- Robbe, Sardinières au Port
- Beltrand, Le Laboureur
- Delcourt, La Modiste
- Webster , Campo Santa Margarita
- Oppenheimer, The Quartet
- Urushibara , Fruit in a Bowl
- Drewes, Rotterdam
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25. Félix Vallotton (1865-1925) Crimes et Châtiments (set of 23) |
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(click on image to print)
Crimes et Châtiments (set of 23)
Lithographs in color, 1901, 320 x 255 mm., Vallotton & Goerg 56b-78b from L'Assiette au Beurre, March 1, 1902.
The full set of 23 original lithographs as printed in the journal, lacking the back cover (no
image) but otherwise in good condition apart from very slight fraying at the right edge of the cover. The overwhelming majority of illustrations published in L’Assiette au Beurre were photo-mechanically reproduced, but Vallotton’s set was a striking exception and advertised as such by the journal itself. The set comprises realistic, if idiomatically stylized, depictions of social scenes, a few of them humorous, many of them brutal. For a number of the Nabi artists, the artistic cutting edge went hand in hand with social criticism.
