This is an original 1931 black and white heliogravure of an illustration by the French artist, Pierre Bonnard (1867-1947), for the ancient Greek romance Les pastorales de Longus, ou Daphnis et Chloé by Longus (A. Vollard, 1902). Please note the deckle edge on the bottom margin.
This 82+ year old Item is rated Very Fine +++. Light aging in margins. No creases. No natural defects. No surface rub. No tears. No water damage.
Period Paper is pleased to offer a series of the works of some of the most important French illustrators of the late 1920's and early 1930's. Published by Henry Babou, Paris, these limited editions contain some of the most beautiful graphic design and artwork that we have ever curated. A rare offering for those interested in Art Deco design, fine printing, and the work of many of the most collected and sought after artists during this era. Many of these prints have one or more untrimmed, or deckle edges, a style often associated with fine printing and high quality paper. This collection is Number 437 of 700 copies.
This piece was illustrated by Bonnard, Pierre. There is no visible artist signature.
Bonnard was born on 3 October 1867 at Frontenay-aux-Roses, Seine. Bonnard studied law, but gave up his career as a registrar for painting. At the Academie Julian, he made the acquaitance of Vuillard, Roussel and Serusier, and became a member of the "Nabis" group (a group of Post-Impressionist avant-garde artists setting the pace of both fine arts and graphic arts in France during the 1890s).
His work is varied, and includes portraiture, landscape, decoration, painting, lithography and book-illustration. His palette was initially light in tone, evoking Japanese Art (1890), becoming darker, warmer, and more glowing (Parisian life and domestic scenes, 1895-1905), before again returning to a subtle tone. During this time, Bonnard was frequently outside Paris during the warmer months, spending time at Montval near Marly-le-Roi, then Vernouillet, Triel, and Vernon. The warmth and sunlight of these areas began to influence his palette, and beginning around 1910, his work became full of the strong sunlight of the South of France. Around 1915, Bonnard's work became more compact and constructive in use of form, while his color palette became even more vibrant and intense.
Bonnard did not paint from life, instead photographing his subjects and making notes about color and light. Upon return to his studio, Bonnard would refer to these photographs and notes when completing his work. In 1938, the Art Institute of Chicago held a major exhibition of Bonnard's work (as well as the work of Vuillard).
Bonnard completed his final painting "The Almond Tree in Blossom" a week before his death on 23 January 1947.Following his death, a posthumous retrospective of Bonnard's work was exhibited by the Museum of Modern Art in New York City (1948). The exhibition was originally intended to be a celebration of Bonnard's eightieth birthday.
Two major exhibitions of Bonnard's work were displayed in 1998 at the Tate Gallery in London and the Museum of Modern Art in New York City.