Blindstamp lower right in margin
|Artist: Lucien Levy-Dhurmer ,
|Title: Belle d'Antan (Yesteryear beauty)
A+, Original Lithograph,
issued by L'Estampe
Issue Number 8, Dec. 1897.
Printed by F. Champenois, Paris.
Blindstamp lower right in margin.
Signed in the stone lower right.
Presented in 16 x 20 in. acid free, archival museum mat,
with framing labels. Ready to frame. Shipped boxed flat.
Certificate of Authenticity.
See our Terms
| Sheet Size:
||12 in x 16 in
||30.5 cm x 40.5 cm
|Price: $195.00 USD
Lucien Levy-Dhurmer One of
the best and strangest French Symbolists. Master of pastels, painter
of fantastical scenes, portraits and beautiful Mediterranean landscapes.
Lucien Levy Dhurmer in 1920
photo by François Antoine Vizzavona
Lucien Levy-Dhurmer French painter and potter. From 1879 he studied
at the Ecole Supérieure de Dessin et de Sculpture in Paris. In his
first exhibition at the Salon in 1882 he showed a small porcelain
plaque depicting the Birth of Venus in the style of Alexandre Cabanel
and he continued to exhibit there regularly. From 1886 to 1895 he
worked as a decorator of earthenware and then as artistic director
of the studio of Clément Massier (c. 1845–1917) at Golfe Juan, near
Around 1892 he signed his first pieces of earthenware inspired by
Islamic ceramics and made a name for himself primarily as a potter
at the Salon des Artistes Français in 1895. An innovator in ceramic
shapes, techniques and glazes, he participated in the revival of the
decorative arts at the end of the 19th century. During this period
he spent some time in Italy, notably in Venice where he familiarized
himself with 15th century Italian art.
In 1896 he exhibited for the first time at the Galerie
Georges Petit (see poster below): about twenty pastels and
paintings were displayed, revealing his individual style and gifts
as a portrait painter.
Galerie Georges Petit
The female form, influenced by the art of Leonardo and the Pre-Raphaelites
became, with landscape, one of his favoured themes and was invested
with mystery, using a technique at once full-bodied and refined (e.g.
Eve, 1896; Paris, Mus. d’Orsay). In the 20th century he gradually
departed from Symbolism except in some representations of women illustrating
the music of Ludwig van Beethoven, Gabriel Fauré and Claude Debussy
and in some landscapes. (all-art.org)
Not unlike the Maitre de L'Affiche series, L'Estampe
Moderne was a portfolio printed between 1897-98, published
by Imprimerie Champenois, Paris, contained 24 monthly portfolios,
with four original lithographs in each. Each commissioned only for
this series. Some of the contributing artists included Mucha, Rhead,
Meunier, Ibels, Steinlen, Willette and Grasset.