|Artist: Alexandra Bitchkova, Russia 1882-1932
(Alexandra Koltsova-Bychkova )
|Title: Plate XVI
Avant-grade Pochoir (Hand coloured) original
lithograph from "Dessins" printed in Paris, issued
by A. Calavas at the Librarie des Arts Decoratifs, 1920
Presented in 16 x 20 in. acid free, archival museum mat, with framing
labels. Ready to frame. Shipped boxed flat via Fedex.
Certificate of Authenticity.
See our Terms of Sale
| Sheet Size:
||11 1/4 in x 15 in
||31 cm x 38 cm
|Price: temporarily out of
(Like many of my most sought after images I am usually able to
locate this for clients. email me for a price estimate, Greg)
From the Art Deco portfolio "Dessins". One of the series
of pochoir design portfolios, with twenty pochoir plates, issued by
A. Calavas at the Librarie des Arts Decoratifs during the 1920's.
"An uncommon and brilliant Futurist portfolio"
Alexandra Bitchkova (Alexandra Koltsova-Bychkova) Painter and
applied artist. Studied in the Stroganov School (1912-1918), in VHUTEMAS
(the Higher State Artistic and Technical Workshops) In 1928–1932 she
worked in Paris, mostly in the sphere of industrial graphic arts and
as a cloth designer. She designed labels, advertising posters, trade
marks, sketches for clothes and footwear, illustrations to P.P. Ershov’s
tale ‘Koniok-Gorbunok’. After 1928 worked as graphical artist, made
landscapes and still life pictures. Works by the artist were exhibited
in Florence and Sofia. Personal exhibitions of A. Koltsova-Bychkova
were held in Paris (1929) and Moscow (1940), her works are kept in
the State Tretyakov Gallery, the State Museum of Fine Arts named after
A.S. Pushkin, in many regional museums
"Simultaneously with the exhibition of Henri de Toulouse-Lautrec’s
works, the small Moscow gallery “Uley” showed the works Alexandra
Koltsova-Bychkova (1882–1985) did in Paris while there between 1928-1932.
The more than 200 sketches of the “Paris” series on display are a
kind of guide through nocturnal Paris done by the artist 30 years
after Toulouse-Lautrec. Indeed, the same high-life parties, boulevards,
cabarets, cafes chantants with their “night butterflies,” singers
and dancers, granddaughters of the beauties whom Lautrec portrayed.
True, there is a huge difference between Koltsova’s and Toulouse-Lautrec’s
art. And then, it was just impossible for a foreigner, especially
a woman, to know all of the Paris haunts of vice the way the great
artist knew them. And yet, the works of the famous master and the
modest Soviet artist have one thing in common: their love for Paris
in both its aspects-splendid and disgusting. Paris will always be
Paris" (www.diplomatrus.com, article Oleg Torchinsky)
Pochoir, French for stencil, defines a technique of print making
popular in France in the early 1900s. It is a labor intensive process
of applying brilliant color by hand using a series of cutout stencils.
Each plate is an original print using up to thirty stencils in one
image. All are hand colored and most are signed in the plate by the