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Location: Gulf Breeze, Florida
Ships to: US,
Item: 124206449982
All returns accepted:ReturnsNotAccepted
Unit of Sale:Multi-Piece Work
Artist:Jean-Louis Prévost
Size:Medium (up to 36in.)
Color:Multi-Color
Date of Creation:1900-1949
Material:Aquatint
Original/Licensed Reprint:Chromolithograph
Subject:Botanical
Print Surface:Paper
Type:Print
Listed By:Dealer or Reseller
Year of Production:1930-1940’s
Width (Inches):20 1/8”W
Height (Inches):27”H
Style:Vintage
Features:Framed,Matted,Signed
Production Technique:Aquatint
Early Vintage circa 1930’s Pair Of French Listed Artist Jean-Louis Prevost Botanical Chromolithograph published by Sidney Z. Lucas of NY & NJ, Paris Etching Society. They can be identified by a circular or triangular symbol with the initials “SZL. Original chromolithograph botanical prints made by the Sidney Z. Lucas Company circa 1930’s. The prints show colorful fruits, including pears, peaches, grapes, plums, The first print’s title is “Rousselets, peches, prunes et raisins No 11” (Rousselet pears, peaches, plums and grapes). The second print’s title is “Chasfelas, muscat et peches No 12” (Chasselas white grapes, muscat grapes and peaches) The chromolithograph prints are reproductions of the 1805 stipple engraving of paintings by Jean Louis Prevost, whose beautiful paintings of flowers and fruits were reproduced as colored stipple engravings in the work “Collection des fleurs et des fruits.” This 12 volume work is still considered to have some of the best botanical illustrations of all time. The chromolithographs are matted with an ivory mat, which has been embellished with colored lines, and are framed under glass in gold beaded inner border frames with hanging hardware on the back. Shipped with UPS. Shipping fees include handling & full insurance Measurements 27”H x 20 1/8”W Condition: Amazing condition considering its age. Please Examine Photos Carefully for condition. Photos #6 & #11 show scuffed areas on the wood frames. ABOUT Artist: Jean-Louis Prévost (French, lived circa 1760–died after 1810) was a painter of landscapes and flowers and frequently worked in watercolor. Born in Nointel, France, he was a student of Bachelier and a member of a circle of painters associated with the great botanical artist Gerrit van Spaendonck. He was a member of the Academy of Saint-Luc, exhibiting paintings of flowers and fruits there from 1791 to 1810, and he also exhibited at the Academie Royale. Though Prévost was not interested in creating his art solely for scientific purposes, his works were so precise and demonstrative of various plant species they have often been reproduced as color plates for botanical books, both during his lifetime and after. His works are in the collection of a number of French museums. His best known work is the Collection des Fleurs et des Fruits. A series of Cahiers de Fleurs dessineés d’aprés Nature after Prévost and engraved by A. Legrand was issued in the first quarter of the 19th Century. Prints based on paintings by Prévost were separately issued as well, in the late 18th and early 19th centuries, some bound in composite sets of prints by various makers. The 2 framed prints offered here are vintage reproductions from the 1930s through 1940s by Sidney Z. Lucas of New York and New Jersey. ABOUT Publisher: Sidney Z. Lucas (Czech-American, 1896-1966), Camilla Lucas Gallery–Old Print Center, Paris Etching Society and Phyllis Lucas Gallery–Old Print Center. Sidney Zoltan Lucas was born May 30, 1896 in Košice, Czechoslovakia and had two siblings to include Camilla Lucas-Fodor and Stephen Lucas. Sidney arrived in the United States from Paris in the 1920’s after living there for several years and having served in WWI. He served in the U.S. Army under Gen. MacArthur and was also a founder-member of the American Legion’s historic Paris Post 1, Department of France (Est. 1919). Lucas formed the Camilla Lucas Publishing Company in 1928 (named after his sister), along with establishing a retail art gallery and the Paris Etching Society (P.E.S.). Lucas was an importer and wholesale distributor of art prints and his retail art gallery, aptly called the Camilla Lucas Gallery, was located at 22 W. 26th St., NYC. The gallery was later known as the Camilla Lucas Old Print Center (or Shop sometimes listed as), located at 4 E. 46th St., NYC, and then at 36 W. 47th St., and also at 3 East 28th Street, NYC. Lucas traveled to Europe several times a year to commission prints by primarily French & Flemish artists which were all original hand-colored aquatints or etchings. The prints were usually signed by the artists (and sometimes titled in pencil by the artists) and supposedly the etchings were usually limited print-runs in the 350-500 range. Over the course of his career, he was known for importing, exhibiting and distributing not only etchings, but other artwork such as: lithographs, watercolors, oils, drawings, serigraphs, woodblock prints, restrikes, other prints & posters, maps, fine art book editions and print folio sets. In the 1950’s, the Old Print Center expanded and became known as the Phyllis Lucas Gallery–Old Print Center (for his wife Phyllis Norma [née Falk] Lucas, 1908-1995) that they operated together at 981 2nd Avenue (Corner 52nd St.) in NYC. The couple had three children to include Peter Lucas, Michael Lucas and Lucille “Luci” Lucas and the family resided at 252 East 52nd Street in the city. A later location of the gallery was also at 235 East 60th St., NYC. In January of 1965, the world famous Surrealist artist Salvador Dali (Spanish, 1904-1989) appointed Sidney Z. Lucas to be his exclusive publisher in North America of hand-signed ltd. ed. lithographs, etchings and prints. Thirty-one print editions of Salvador Dali’s work were published through the Phyllis Lucas Gallery between 1965 and 1971 and are considered among his best graphic works. Dali was a frequent visitor to the gallery and a good friend of Sidney and Phyllis Lucas, and you can view a short video of him at the gallery in 1965 here. Other notable artists published or shown over that time, included: Redouté, Prevost, Barraband, Audubon, Gould, Piranesi, Daumiar, Chagal, Matisse, Picasso, Vlaminck, Utrillo, as well as Currier and Ives, Harper’s Weekly, and many more… On July 2, 1966, Sidney died in Memorial Hospital at the age of seventy and services were held at the Universal Funeral Chapel. Phyllis continued to run the gallery until her death in 1995, when their children took over. ABOUT Aquatint Technique: An aquatint begins with a copper or zinc plate. The artist applies a ground by either dissolving powdered resin in spirits or applying the powder directly to the surface of the plate. The plate is then heated; if the plate is covered with powder, the resin melts forming a fine and even coat; if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even and fine level of corrosion (the “bite”) sufficient to hold ink. At this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, the paper would display a gray color more or less directly in between white (no ink) and black (full ink). At some point the artist will then etch an outline of any aspects of the drawing he wishes to establish with line; this provides the basis and guide for his later tone work. He may also have applied (at the very start, before any biting occurs) an acid-resistant “stop out” (also called an asphaltum or hard ground) if he intends to keep any areas totally white and free of ink, such as highlights. The artist then begins immersing the plate in the acid bath, progressively stopping out (protecting from acid) any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, watery look. Also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching; but aquatint plates, it is noted, are generally more durable than mezzotint plates. Shipped with UPS. Shipping fees include handling & full insurance. 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