CLAUDE MONET and GEORGE W. THORNLEY Femme au Chevalet . Color lithograph on Chine appliqué on cream wove paper, circa 1892. 160x200 mm; 6 1/4x8 inches, full margins. Edition of 25. Signed by both Monet and Thornley and titled in pencil, lower margin. Printed by Belfond, Paris, with the blind stamp (Lugt 225d, lower left). Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet . A very good, well-inked impression of this extremely scarce lithograph. Until he met Thornley, Monet had evidenced no interest in making prints. Unlike Degas and Pissarro, who etched on copper and drew on stone or transfer paper, or Cézanne, Sisley and Renoir, who collaborated with Auguste Clot the talented Parisian master printer, to create color lithographs, Monet either found printmaking too daunting or did not seek the public acclaim for his work that printmaking could provide. However, he was able to find a hospitable partner in Thornley. The resulting collaborative lithographs of landscapes and seascapes, signed by Monet in pencil, are informed by the elusive and shimmering light of his iconic Impressionist oil paintings.
CLAUDE MONET and GEORGE W. THORNLEY Femme au Chevalet . Color lithograph on Chine appliqué on cream wove paper, circa 1892. 160x200 mm; 6 1/4x8 inches, full margins. Edition of 25. Signed by both Monet and Thornley and titled in pencil, lower margin. Printed by Belfond, Paris, with the blind stamp (Lugt 225d, lower left). Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet . A very good, well-inked impression of this extremely scarce lithograph. Until he met Thornley, Monet had evidenced no interest in making prints. Unlike Degas and Pissarro, who etched on copper and drew on stone or transfer paper, or Cézanne, Sisley and Renoir, who collaborated with Auguste Clot the talented Parisian master printer, to create color lithographs, Monet either found printmaking too daunting or did not seek the public acclaim for his work that printmaking could provide. However, he was able to find a hospitable partner in Thornley. The resulting collaborative lithographs of landscapes and seascapes, signed by Monet in pencil, are informed by the elusive and shimmering light of his iconic Impressionist oil paintings.
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