Also known as Beggarstaff
along with James Pryde, Scottish (1866-1941)
|Plate: NP. 03
|Title: Eleonora Duse
A. Original colour lithograph from "Twelve Portraits"
Second series, published by William Heinemann, London 1902.
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
||9 7/8 in x 10 1/14 in
||25 cm x 26 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)
Eleonora Duse (1858-1924), Italian actress, was born of a family
of actors, and by 1885 she was recognized at home as Italy's greatest
actress, and this verdict was confirmed by that of all the leading
cities of Europe and America. In 1893 she made her first appearances
in New York and in London. Some of her greatest successes during the
1880s and early 1890s, the days of her chief triumphs, were in Italian
versions of such plays as "La Dame aux camélias" in which
Sarah Bernhardt was already famous. Madame Duse's reputation as an
actress was founded less on her "creations" than on her magnificent
individuality. In contrast to the great French actress she avoided
all "make-up". Her art depended on intense naturalness rather than
on stage effect, sympathetic force or poignant intellectuality rather
than the theatrical emotionalism of the French tradition. Her dramatic
genius gave a new reading to the parts, and during these years the
admirers of the two leading actresses of Europe practically constituted
two rival schools of appreciation. Ill-health kept Madame Duse off
the stage for some time; but though, after 1900, it was no longer
possible for her to avoid "make-up," her rank among the greatest actresses
of history remained undisputable. (This article was originally
published in Encyclopedia Britannica, Eleventh Edition, Volume VIII.
Anonymous. Cambridge: University Press, 1911. p. 712.)
"Nicholson did this image just after his
association with James Pryde as The Beggarstaff
Brothers had come to an end. But his revolutionary approach to design
which marked the Beggarstaff posters, found further expression in
the small-scale woodcuts on which he then concentrated.
William Nicholson's woodblock prints of the 1890's were amongst the
most revolutionary British print images of the era. They used a treatment
of form, with a stylized simplification of shape, and a handling of
perspective and picture space which had had no precedent in British
art. Influences of Japanese art, and a parallel thinking to, if not
a direct knowledge of, the ideas of Toulouse Lautrec and of the Nabis
painters in Paris at the same period can certainly be felt, although
there is no record that Nicholson had actually studied either at this