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Artist: Sir William Nicholson
English (1872-1942)
Also known as Beggarstaff along with James Pryde, Scottish (1866-1941)
Plate: NP. 04
Title: Thomas Edison

Description: Condition A. Original colour lithograph from "Twelve Portraits" published
by William Heinemann, London 1899.

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: 9 7/8 in x 10 1/14 in
  25 cm x 26 cm
Price: temporarily out of stock

(Like many of my most sought after images I am usually able to locate this for clients. email me for a price estimate, Greg) To Request



Thomas Edison (1847-1931) was born in Milan, Ohio. With only three months of formal education he became one of the greatest inventors and industrial leaders in history. Edison obtained 1,093 United States patents, the most issued to any individual. Edison's greatest contribution was the first practical electric lighting. He not only invented the first successful electric light bulb, but also set up the first electrical power distribution company. Edison invented the phonograph, and made improvements to the telegraph, telephone and motion picture technology. He also founded the first modern research laboratory.

Edison had great faith in progress and industry, and valued long, hard work. He used to say, “Genius was 1 percent inspiration and 99 percent perspiration.” Edison believed that inventing useful products offered everyone the opportunity for fame and fortune while benefiting society. (www.lucidcafe.com/library/96feb/edison.html)

"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 date." (Weston)

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