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Artist:MOURLOT – PARIS
Size:Medium (up to 36in.)
Date of Creation:1956
Material:Matte Paper
Region of Origin:PARIS FRANCE
Framing:Unframed
Original/Licensed Reprint:Original
Subject:RARE LITHOGRAPHS – MOURLOT 1956
Type:Poster
Year of Production:1956
Height (Inches):28″
Style:Affichiste
Theme:Art
Features:RARE LITHOGRAPHS – MOURLOT 1956
Country/Region of Manufacture:France
DESCRIPTION : Up for auction is an EXTREMELY RARE and ORIGINAL LITHOGRAPHIC ART POSTER , 65 years old, Dated 1956 , Announcing and advertising an GROUP exhibition of a few acclaimed FRENCH PAINTERS , Namely LEONARD TSUGUHARU FOUJITA , ISIS KISCHKA , BERNARD BOUFFET , JEAN-YVES COMMERE , JOSEPH PRESSMANE , MAURICE VERDIER and AUGUSTE DUREL . The EXHIBITION took place in 1956 ( Dated ) in VICHY FRANCE. The LITHOGRAPHIC POSTER was published by MOURLOT PARIS. The POSTER consists on a DRAWING of FOUJITA. The EXQUISITE ARTISTIC LITHOGRAPH is greatly preserved inspite its 65 years of age. The ON LINE price for such original NOURLOT lithographic poster in such very good condition reaches 400 Euros. Printed on paper. Not matted. Unfolded. Size around 20″ x 28″ ( 50 cm x 70 cm ) . Very good original used condition.Vivid and lively lithographic printing. Left bottom corner is slightly creased. ( Pls look at scan for accurate AS IS images ) .Will be sent in a special protective rigid sealed tube . AUTHENTICITY : This LITHOGRAPHIC POSTER is fully guaranteed ORIGINAL from 1956 ( Fully dated ) , It is NOT a reproduction or a recently made reprint or an immitation , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.PAYMENTS : Payment method accepted : Paypal & All credit cards.SHIPPING : Shipp worldwide via registered airmail is $ 29 . Will be sent in a special protective rigid sealed tube . Handling around 5-10 days after payment. Bernard Buffet (French: [byfɛ]; 10 July 1928 – 4 October 1999) was a French painter of Expressionism and a member of the anti-abstract art group L’homme Témoin (the Witness-Man).[1] Contents 1Life and work 2Theme exhibitions (selection) 3Awards 4Collections (selection) 5Cultural references 5.1Film 6References 7External links Life and work[edit] Buffet was born in Paris, France, and studied art there at the École Nationale Supérieure des Beaux-Arts (National School of the Fine Arts) and worked in the studio of the painter Eugène Narbonne. Among his classmates were Maurice Boitel and Louis Vuillermoz. He met the French painter Marie-Thérèse Auffray and was influenced by her work. Sustained by the picture-dealer Maurice Garnier, Buffet produced religious pieces, landscapes, portraits and still-lifes. In 1946, he had his first painting shown, a self-portrait, at the Salon des Moins de Trente Ans at the Galerie Beaux-Arts. He had at least one major exhibition every year. Buffet illustrated “Les Chants de Maldoror” written by Comte de Lautréamont in 1952. In 1955, he was awarded the first prize by the magazine Connaissance des Arts, which named the ten best post-war artists. In 1958, at the age of 30, the first retrospective of his work was held at the Galerie Charpentier. Pierre Bergé was Buffet’s live-in lover until Bergé[2] left Buffet for Yves Saint Laurent. On 12 December 1958, Buffet married the writer and actress Annabel Schwob. They adopted three children.[3] Daughter Virginie was born in 1962, daughter Danielle in 1963 and son Nicolas was born in 1973. Bernard Buffet was named “Chevalier de la Légion d’Honneur” in 1973. On 23 November 1973, the Bernard Buffet Museum was founded by Kiichiro Okano, in Surugadaira, Japan. At the request of the French postal administration in 1978, he designed a stamp depicting the Institut et le Pont des Arts – on this occasion the Post Museum arranged a retrospective of his works.[4] Buffet created more than 8,000 paintings and many prints as well. Buffet committed suicide[5] at his home in Tourtour, southern France, on 4 October 1999. He was suffering from Parkinson’s disease and was no longer able to work. Police said that Buffet died around 4 p.m after putting his head in a plastic bag attached around his neck with tape. The popularity of Buffet’s work, as well as the level of media attention around his lifestyle, were quite high in the 1950s and 1960s. Although he kept on painting throughout his life, there was a certain decline in interest in his work in the last decades of the 20th century, especially so in France. This decline in popularity was partly influenced by his fall from grace with French art pundits, whose support and interest shifted away from figurative art. In the 21st century, there has been a renewed spike in interest in the work of Bernard Buffet. With some successful exhibitions in France and throughout the world. In 2016, British author Nicholas Foulkes published Bernard Buffet: The Invention of the Modern Mega-Artist, in which he offers a controversial biographical account of Buffet’s life and work. Theme exhibitions (selection)[edit] 1952 La Passion du Christ 1954 Horreur de la Guerre 1958 Jeanne d’Arc 1961 Portraits d’Annabel 1962 La Chapelle de Château l’Arc 1965 Les ecorches 1967 La corrida 1971 Les Folles 1977 L’enfer de Dante 1978 The French Revolution 1989 Vingt mille lieues sous les mers 1991 Souvenirs d’Italie 1991 New York 1992 Les Clowns Musiciens 1992 Saint-Petersburg 1993 L’Empire ou les plaisirs de la guerre 1993 Promenade Provencale 1995 Sept peches capitaux 1996 Pekin 1998 La maison 1999 Mes Singes 2000 La mort Awards[edit] 1947 Member of the Salon d’Automne 1947 Member of the Société des Artistes Indépendants 1948 co-recipient of the Prix de la Critique with Bernard Lorjou 1950 Prix Puvis de Chavannes 1955 First Prize by Magazine Connaissance 1973 Officer of the Légion d’Honneur 1974 Member of the Académie des Beaux-Arts Collections (selection)[edit] ARTAX, Düsseldorf Boca Raton Museum of Art Ca la Ghironda, Bologna Kunstmuseum Walter, Augsburg Musée d´art moderne de Lille, Villeneuve d´Ascq Museum of Contemporary Art, Skopje National Gallery for Foreign Art, Sofia National Gallery of Canada, Ottawa National Museum of Western Art, Tokyo Tampere Art Museum Tate Gallery, London Wellside Gallery, Seoul Alexandre de Bothuri collection, Palm Beach, USA ” Le Clown Jaune” 1955***** Jean-Yves Commère started to learn sculpture while still a child in Angers; he enrolled at the École des Beaux-Arts in Paris in 1938, where he studied under Jean Boucher and worked with Landowski and Niclausse. By 1942, he had abandoned sculpture in favour of painting. Commère’s early work chiefly comprised patterns of lines etched nervously into the underlying canvas to provide a sense of transparency that reinforced a decidedly light colour palette. Subsequently, he worked with more densely-applied paint; this imparted a new robustness to his work. He also worked as an illustrator, producing lithographs for several literary works. Examples of Commère’s work featured at numerous group exhibitions in both France and abroad, notably in Paris at the Salon des Artistes Indépendants, the Salon d’Automne, the Salon des Peintres Témoins de Leur Temps (where he was awarded the 1963 Grand Prix), the Salon de Mai, the Salon Comparaisons and the Salon des Tuileries. He exhibited solo for the first time in Paris, at the Monique de Groote gallery in 1951 and thereafter in the same gallery in 1953, 1955 and 1957. Solo exhibitions followed in London and Geneva, then came a retrospective in 1971 at the Philippe Reichenbach Gallery in New York. Other solo exhibitions included Commère Through the Years at the Galerie Guigné in Paris in 1985. Commère was awarded the Othon Friesz prize in 1952, an out-of-competition Prix de la Jeune Peinture in 1953, and the Francis Smith Grand Prix in 1973. He was elevated to the status of Chevalier des Arts et Lettres in 1958 and invited to the Venice Biennale that same year. He was promoted to the rank of Officier des Arts et Lettres in 1979. Following his death in October 1986, a Homage to Jean Commère exhibition was held in 1987 at the Musée du Luxembourg in Paris, followed by a November 1987 retrospective Jean-Yves Commère: Forty Years of Painting ( ean-Yves Commère: 40 ans de peinture) held at the Centre Culturel Paul Gauguin in Pont-Aven and at the Salon d’Automne in Paris. *** Auguste Durel, born in Toulouse in 1904 and died in 1993 is a French painter and sculptor. He was a pupil of Armand Vergeaud in Tunis. He exhibited at the Salon des Artistes French in 1927 and the Salon des Indépendants in 1938. He also exhibited at the salons of autumn and tuileries *** Léonard Tsuguharu Foujita (藤田 嗣治, Fujita Tsuguharu, November 27, 1886 – January 29, 1968) was a Japanese–French painter and printmaker born in Tokyo, Japan, who applied Japanese ink techniques to Western style paintings. He has been called “the most important Japanese artist working in the West during the 20th century”.[1] His Book of Cats, published in New York by Covici Friede, 1930, with 20 etched plate drawings by Foujita, is one of the top 500 (in price) rare books ever sold, and is ranked by rare book dealers as “the most popular and desirable book on cats ever published”.[1][2] Contents 1Early life in Japan 2Paris 3Marriage 4Latin America and Japan, return to France 5Last work 6Tribute 7See also 8Notes 9References 10External links Early life in Japan[edit] Immediately after graduating secondary school, Foujita wished to study in France, but on the advice of Mori Ōgai (his father’s senpai military physician) he decided to study western art in Japan first.[3] In 1910, when he was twenty-four years old Foujita graduated from what is now the Tokyo National University of Fine Arts and Music. His paintings during the period before he moved to France were often signed “Fujita”, rather than the francized “Foujita” which he later adopted. Paris[edit] Tsuguharu Foujita in his studio Three years later he went to Montparnasse in Paris, France. When he arrived there, knowing nobody, he met Amedeo Modigliani, Pascin, Chaïm Soutine, and Fernand Léger and became friends with Juan Gris, Pablo Picasso and Henri Matisse. Foujita claimed in his memoir that he met Picasso less than a week after his arrival, but a recent biographer, relying on letters Foujita sent to his first wife in Japan, clearly shows that it was several months until he met Picasso.[4] He also took dance lessons from the legendary Isadora Duncan.[5] Within a few years, particularly after his 1918 exposition, he achieved great fame as a painter of beautiful women and cats in a very original technique. He is one of the few Montparnasse artists who made a great deal of money in his early years. By 1925, Tsuguharu Foujita had received the Belgian Order of Leopold and the French government awarded him the Legion of Honor.[citation needed] Foujita had his first studio at no. 5 rue Delambre in Montparnasse where he became the envy of everyone when he eventually made enough money to install a bathtub with hot running water. Many models came over to Foujita’s place to enjoy this luxury, among them Man Ray’s very liberated lover, Kiki, who boldly posed for Foujita in the nude in the outdoor courtyard. Another portrait of Kiki titled “Reclining Nude with Toile de Jouy,” shows her lying naked against an ivory-white background. It was the sensation of Paris at the Salon d’Automne in 1922, selling for more than 8,000 francs. In 2013, the painting sold at Christie’s in New York for $1,205,000.[6] Ink and watercolor portrait on paper by Foujita. His life in Montparnasse is documented in several of his works, including the etching A la Rotonde or Café de la Rotonde of 1925/7, part of the Tableaux de Paris series published in 1929.[7] Marriage[edit] Foujita’s first marriage was to Tomiko Tokita (鴇田登美子, Tokita Tomiko, also called Tomi Tokita), a school teacher in a girls’ school in Chiba Prefecture. They were married in 1912, the year before Foujita left for Paris. They divorced in 1916.[3] In March 1917 in the Café de la Rotonde, Foujita met a young lady by the name of Fernande Barrey.[4] At first, she totally ignored Foujita’s efforts to engage her in conversation. However, early the next morning, Foujita showed up at Fernande’s place with a blue corsage he had made overnight. Intrigued, she offered him a pot of tea and they were married 13 days later. In 1918, a trip to the south of France was organized by the Polish poet Léopold Zborowski, who had the idea that his artist-friends could sell pictures there to rich tourists. Foujita and his wife went along as did Soutine, Modigliani with his lover, Jeanne Hébuterne. The trip was not, however, a success and the group had to survive on the advances that Foujita had obtained from his Paris dealer. By the time the final reckoning arrived even those funds had run out, and their landlord, ignoring the offers of pieces of art, confiscated all their baggage in lieu of payment.[citation needed] In 1921, he became involved with Lucie Badoul, whom he called Youki, or “Rose Snow”. By 1925, Foujita and his wife Fernande led a very open relationship, both having relations with people of both sexes, but Foujita did not forgive Fernande’s affair with his cousin Koyanagi, a painter. In 1925, they divorced, and Lucie Badoul later became Foujita’s third wife.[8] This relationship ended when she became the lover, then the wife of the surrealist poet Robert Desnos. Latin America and Japan, return to France[edit] After the breakup of his third marriage, and his flight to Brazil in 1931 (with his new love, Mady), Foujita traveled and painted all over Latin America, giving hugely successful exhibitions along the way. In Buenos Aires, Argentina, 60,000 people attended his exhibition, and more than 10,000 queued up for his autograph. In 1932 he contributed a work to the Pax Mundi, a large folio book produced by the League of Nations calling for a prolonged world peace.[7] However, by 1933 he was welcomed back as a minor celebrity to Japan where he stayed and became a noted producer of militaristic propaganda during the war. For example, in 1938 the Imperial Navy Information Office supported his visit to China as an official war artist.[9] Foujita returned to France after the war. In 1955 he became a French citizen, thereafter renouncing his Japanese citizenship. Today, Foujita’s works can be found in the Bridgestone Museum of Art and in the Museum of Contemporary Art in Tokyo, and more than 100 in the Hirano Masakichi Art Museum in Akita.[10] After the Second World War, painter Yasuo Kuniyoshi opposed Tsuguharu Foujita’s art show at the Kennedy Galleries. Kuniyoshi labelled Foujita a fascist, imperialist, and expansionist.[11] Last work[edit] The last house and studio of Foujita in Villiers-le-Bâcle Foujita Chapel On his return to France, Foujita converted to Catholicism. He was baptised in Reims Cathedral on 14 October 1959, with René Lalou (the head of the Mumm champagne house) as his godfather and Françoise Taittinger as his godmother. This is reflected in his last major work, at the age of 80, the design, building and decoration of the Foujita Chapel in the gardens of the Mumm champagne house in Reims, France, which he completed in 1966, not long before his death. Tsuguharu Foujita died of cancer on January 29, 1968, in Zürich, Switzerland and was interred in the Cimetière de Villiers-le-Bâcle, Essonne département, France. In 2003, his coffin was reinterred at the Foujita Chapel under the flagstones in the position he originally intended when constructing the chapel.[12] Tribute[edit] On November 27, 2018, a Google Doodle was displayed to celebrate his 132nd birthday.[13] *** Isis Kischka (1908-1973) BiographyWorks Isis Kischka was born in Paris on the 26 October 1908 to a Jewish family who had migrated from the Ukraine two years earlier. After completing studies in commerce he became interested in painting and became an artist in 1926, working first as a designer of medals. He married in 1932 and three years later began to study at the Académie de la Grande Chaumière. His main sources of inspiration were Van Gogh and Cézanne. His paintings and colorful lithographs caught the attention of the prestigious art critics Jean Cassou and George Waldemar, the latter comparing Kischka’s style to “the song of the nightingale”. In 1938 Kischka’s works were exhibited for the first time at the Salon des Indépendants and subsequently at the Salon d’Automne. In 1941 Kischka was arrested and interned in Compiègne. While there, he painted scenes of the camp and portraits of his fellow inmates, and he encouraged other artists among the inmates to do likewise. He became a central figure in the artistic activity of the camp, organizing exhibitions and winning the highest esteem of fellow artists like Jacques Ostrowsky and Savely Schleifer, who dedicated several of their works to him. From Compiègne he was transferred to Drancy, but managed to avoid deportation to the death camps. In the fall of 1944, after 39 months of internment, Kischka was freed and returned to Paris. Some time after his return he founded, together with art critic Jean Cassou and curator Yvon Bizardel, an association called “Artists Witness their Time”. Their first exhibition was held in 1951 and included works by Henri Matisse, Georges Rouault, Raoul Dufy and Moïse Kisling. Kischka devoted his time to running the association’s gallery, refusing to exhibit his own works there. But this did not prevent him from continuing with his own artistic work and from showing elsewhere. His landscapes, portraits and still life paintings were exhibited from 1956, first in a one-man show at the Nantes gallery and a year later at the Parisian gallery of Saint Placide. Subsequently, his works would be seen in galleries throughout France and in other countries. His extensive artistic and public activities were cut short in December 1973, when he died in Paris after a severe illness. Kischka managed to save his paintings from the period of his internment, as well as the works of other artists – Jacques Gotko, David Brainin, Abraham Joseph Berline, Savely Schleifer and Jacques Ostrowsky. He donated several of these works to the art collection of Beit Lohamei Haghetaot (Ghetto Fighters’ House Museum). **** Born and raised in Paris, to which his parents moved two years before his birth. His father, a former restaurant worker, had a grocery store in the fifteenth district of Paris. Kischka attended the local community school as a child. Later on he attended a school in Mainz and the Commercial School of Paris. At the age of nineteen he became interested in painting and literature. His first job was designing motives on medals in a medal’s factory. Along with his friends- Jacques Copeau, Michel Saint Denis and Georges Pitoeff he made plans of opening a theater company but these plans never worked up and in 1927, he decided to turn into painting. He attended the Chaumiere Grand Academy of art in Paris. During his studies many art critics, including the notorious Waldemar George, have noticed his unique work. In 1941, Kischka was arrested by the Gestapo. He was sent to a concentration camp in Romainville and then to another camp in Compiegne, afterwards he was transferred to Drancy were he was kept for two years until the liberation day on August 1944. In the camps he became friend with other painter inmates such as Jacques Gotko, Savely Schleifer and David Hoychman. The group improvised expositions of their works in the camp. Unfortunately all of his friends from the camp didn’t survive to the liberation day and were murdered by the Nazis. Kischka promised himself to be a painter if he will survive the war. It is believed that he painted about two hundred painting before 1940 and all of these paintings were destroyed by the Nazis. He returned to Paris in 1945 and had to deal with financial problems caused to him by the war, he set his mind on rearming his father shop. Leading his two front operations, he painted before and after work, that way he managed both earning money and being a painter. In 1946, he participated in the creation of a new salon along with several other artists such as Jean Cassou, Yvon Bizardel and Raymond Cogniat, the salon was named “the painters witnesses of their time salon”. “Kischka was an active and generous person, he truly loved art and artists. He was the initiator of the idea of creating a new salon. This Salon presented each year an exhibition that was very vivint. How could it be otherwise? Kischka was convinced in the intimate link between art and life. He felt that art is a phenomenon of life and a testimony of it. It is facilitator within the meaning of the term. It was not only that he himself was a painter, he had honor and discretion. The painter nevertheless exists and its existence as deep as the painting”. Jean Cassou, Paris 1957. *** Joseph Pressmane studied at the Beaux-Arts of Lvov and Warsaw. In 1927, he arrived in Paris where his goal was to see some works of Cézanne. After being granted French citizenship, he worked at the Ranson Academy with Roger Bissière and becomed imbued with the French masters by going to see their works at the Louvre every Sunday. In 1932, he met Zborowski who purchased from him several paintings but who died shortly after the contract was signed. He exhibited his paintings in several Parisian exhibitions, thus acquiring some fame and the Baroness Alix de Rotschild will support him. Nevertheless, Pressmane went through difficult periods in regard to money, he needed to work as a house painter to support himself. In 1939, the beginning of the war compels Pressmane to disappear for several years. He lived in cellars and even in cupboards. At the Liberation in 1945, he started painting again, he wanted to make up for the time he has lost and took part in the Painters Witnesses of their Era foundation. In 1951 he received the Critics prize and in 1952 the Burlhe prize in Switzerland. With his reserved nature, he kept out of the Parisian life painted until his death in 1967. His works now belong to many collections. **** Maurice VERDIER (1919-2003) In his time, he was a star in French painting, alongside Minaux, Buffet, Savary, Jansem, Rebeyrolle. Connoisseurs will know: Maurice Verdier must be seen as one of the best representative of the return to neorealism, major movement in Europe right after the war. Commenting his canvases in 1956 at the Lorenceau gallery, critic Jacques Cabanon wrote: “not delivering gratuitous lyricism, Verdier knows how to elate ‘from inside’ the beauty of the simplest things”. His works, always with an assured style, are now exhibited in a dozen museums. **** Maurice Verdier est un peintre français, né le 2 juin 1919, à Paris, et mort dans la même ville en 20031. Sommaire 1Biographie 2Salons 3Expositions 4Notes et références 5Liens externes Biographie[modifier | modifier le code] Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ? Il entre en 1938 à l’École nationale supérieure des beaux-arts de la ville de Paris et obtient une bourse de l’État. Maurice Verdier expose tout au long de sa carrière au Salon d’automne, dont il est sociétaire, ainsi qu’au Salon des artistes français. Ses toiles font partie de plusieurs collections de musées de France et de l’étranger. Salons[modifier | modifier le code] Salon des Tuileries Salon de mai Salon d’automne Salon des artistes français Salon des peintres témoins de leur temps Salon d’art sacré Salon Comparaisons *** **** About Fernand Mourlot Fernand Mourlot was born in Paris in 1895. He grew up in the family print shop but it wasn’t until he took over in the early 1920s that he would change the fabric of printing forever. His influence fostered a resurgence of lithography, revealing it as a new avenue for expression and a new realm of possibilities for likes of Pablo Picasso, Henri Matisse, Marc Chagall, Joan Miró, Georges Braque, Fernand Léger, and Alberto Giacometti to enrich their own work as well as fine art in general. Fernand cultivated the lithograph as a painter’s medium and the family studio on Rue Chabrol became a hub where he could invite artists to work directly on the stone, as if creating a poster. In 1937, the studio produced two posters (based on paintings by Matisse and Bonnard) for the Maitres de l’Art indépendant exhibition at the Petit Palais. The posters were of such excellent quality that it was clear they had attained the height of printing mastery. Fernand retired in the mid 1970s but his name remains to this day synonymous with rebirth of lithography. ****** Jacques Mourlot Hometown: Paris, France Jacques Mourlot was born in Paris in 1933 and grew up at the print shop with his father Fernand. In his time outside of his work at the studio, Jacques was a talented trumpet player and part of the house band of La Caveau de La Huchette in the late 1940s. In 1950, Jacques joined the French army and was stationed in North Africa attached to the French Foreign Legion. After being wounded in battle and spending a year of recovery in the hospital, Jacques returned to Paris in 1954 to assist Fernand in running the print shop. In addition to working at the studio, Jacques pursues a career as a race car driver. Soon his technical prowess and achievements in printing garnered respect by artists and master printers alike as Jacques matured into Fernand’s closest assistant. His attention to detail and nuanced technique made him an invaluable asset in both the artistic and technological process of the family studio, introducing new approaches to the development of printing. In 1966, Jacques was designated by Fernand to Pioneer the family name in New York after a tour with the Smithsonian showed the Mourlot Collection throughout the United States. After moving with his wife Liliane and son Eric, Jacques established Bank street studio where he went on to create beautiful pieces with artists such as Claes Oldenburg, Roy Lichtenstein, Ellsworth Kelly, Ben Shahn, Alex Katz, James Rosenquist, and Lee Krasner. For six years he worked and printed in this studio as well as participated in projects for prestigious institutions including the Smithsonian, MoMa, and the Met. Upon his father Fernand’s retirement in the mid 1970s, Jacques and his family returned to Paris to take over the main studio. It was here where he continued to help finish the later works of Chagall, Miró, Buffet, and those of many other artists until his retirement in 1990. ******Mourlot Studios was a commercial print shop founded in 1852 by the Mourlot family and located in Paris, France. It was also known as Imprimerie Mourlot, Mourlot Freres and Atelier Mourlot. Founded by Francois Mourlot, it started off producing wallpaper. Later, his son Jules Mourlot would expand the business to handle the production of chocolate labels for companies such as Chocolat Poulain, as well as ledgers, maps and stationary. Starting in the 1920s, Jules’ son, Fernand Mourlot, converted one of the locations into a studio dedicated to printing fine art lithography. History[edit] One of the most important contribution of the Mourlot Studio was to be the art poster. For the Eugène Delacroix exhibition in 1930, the Daumier exhibition and the Manet exhibition at the French National Museums, Mourlot became the place where posters were prepared and produced as works of art in their own right. Another important feature would be the production of fine art, limited edition lithographs. The first painters to create lithographs at Mourlot were Vlaminck and Utrillo, despite most artists abandoning the once-popular 19th-century lithography, during the first part of the 20th century. Lithography, which was invented by Aloys Senefelder at the end of the 18th century, reached fame when it was adopted by artists such as Jules Chéret, Toulouse-Lautrec, Bonnard and Vuillard in the 1880s. Beginning in the 1930s, Fernand Mourlot (the grandson of the founder of Mourlot studios) began inviting a new generation of artists to work directly on lithography stones (in the same manner as one does when creating a poster). This expansion of fine art into the printing realm began a previously non-existent partnership between artist and printer which remains to this day. King & McGaw’s 2015 Mourlot exhibit in London In 1937, the studio created two posters, one by Bonnard and one by Henri Matisse, for the Maitres de l’Art indépendant exhibition at the Petit Palais. Both artists were so impressed by the posters’ excellent quality that Mourlot studio became the leading lithographic printer for fine artwork. That same year, the studio also began a long collaboration with the editor Tériade, who founded the legendary art review “Verve.” After the Second World War, Mourlot assisted Matisse, Braque, Bonnard, Rouault and Joan Miró in the creation of important lithographs for the review. In 1945, Pablo Picasso selected the Mourlot studio for his return to the lithographic medium. Set up in a corner of the shop, it would soon become his home for several months at a time. Between 1945 and 1969, Picasso created over four hundred lithographs at Mourlot. This collaboration would break new ground in the lithographic process and lend a new dimension to Picasso’s work.[1] In May 2015 King & McGaw used a pop-up shop to showcase lithographic posters from the Mourlot Studios archives in Soho, London.[2] Contributions from artists such as Picasso, Matisse, Masson, Leger, Miro, Le Corbusier, Yves Klein, Raoul Dufy and René Magritte[3][4][5] were included in the exhibit. **** Mourlot Studios, a commercial print shop, has been in operation since 1852 owned and operated by the Mourlot Family located in Paris, France. In the 1920’s, production was dedicated to printing fine art lithography under the direction of Fernand Mourlot, and later expanded to include Verve, a periodical art review magazine. Over the years it has been known as Imprimerie Mourlot, Mourlot Freres and Atelier Mourlot. Owner of Rare Posters, Bernard Rougerie has been tailoring his comprehensive collection of fine art museum and exhibition posters and prints, servicing all levels of the industry from individual collectors to big box retailers. Over the past 20 years of being in business Rougerie has cultivated and nurtured close relationships with some of the worlds top print shops including Mourlot, .[citation n ebay5569
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