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Henri Matisse’s Nature morte au buffet vert; Gouache stencil over lithograph, printed to velin paper in 1930. The suite ...
11/10/2026

Henri Matisse’s Nature morte au buffet vert; Gouache stencil over lithograph, printed to velin paper in 1930.

The suite was printed at the renowned and trusted workshops of L'Atelier Desjobert, Paris, who specialised in pochoir and fine lithography. They did not use standard mechanical colour presses for the plates. Instead layers of rich, opaque gouache were painstakingly brushed by hand through metal stencils. Because the ink sits thickly on top of the paper rather than soaking flatly into it, the prints possess an intense, tactile, and paint-like quality.

Detail from the original 1930 pochoir of Henri Matisse’s Odalisque au Tambourin. The suite was printed at the renowned a...
10/10/2026

Detail from the original 1930 pochoir of Henri Matisse’s Odalisque au Tambourin.

The suite was printed at the renowned and trusted workshops of L’Atelier Desjobert, Paris, who specialised in pochoir and fine lithography. They did not use standard mechanical colour presses for the plates. Instead layers of rich, opaque gouache were painstakingly brushed by hand through metal stencils. Because the ink sits thickly on top of the paper rather than soaking flatly into it, the prints possess an intense, tactile, and paint-like quality.

Detail from the original 1930 pochoir of Henri Matisse’s Odalisque au Tambourin. The suite was printed at the renowned a...
10/10/2026

Detail from the original 1930 pochoir of Henri Matisse’s Odalisque au Tambourin.

The suite was printed at the renowned and trusted workshops of L'Atelier Desjobert, Paris, who specialised in pochoir and fine lithography. They did not use standard mechanical colour presses for the plates. Instead layers of rich, opaque gouache were painstakingly brushed by hand through metal stencils. Because the ink sits thickly on top of the paper rather than soaking flatly into it, the prints possess an intense, tactile, and paint-like quality.

09/10/2026

The seemingly flat, graphic style Picasso employs in his 1936 Dish of Pears, appears simple but at the same time achieves a remarkable sense of depth through a complex overlay of shape and tonal harmony.

It is done is such a way as to echo his earlier cubist experiments in showing his subject from every angle at once.

What is more, the contours of his forms are secondary to the forms themselves, which already exist before do lines. Thus the freedom he affords his line gives the onlooker a narrative framework which is as tight as it is spontaneous.

Henri de Toulouse-Lautrec’s, Lassitude; limited edition lithograph of 1969.
08/10/2026

Henri de Toulouse-Lautrec’s, Lassitude; limited edition lithograph of 1969.

Chagall at Pace / Columbus. Exhibition June 25th Through July 23rd, 1977. Original poster, printed by Pace Gallery, Colu...
07/10/2026

Chagall at Pace / Columbus. Exhibition June 25th Through July 23rd, 1977. Original poster, printed by Pace Gallery, Columbus, Ohio in 1977.

Published by Pace Gallery in a single promotional edition of 2,000 copies to coincide with the summer 1977 exhibition at their facility in Columbus, Ohio. The primary illustration features Chagall’s L’Enlèvement de Chloé (The Abduction of Chloe), a composition originally created as a lithograph by Tériade in 1961 for the landmark Daphnis and Chloé portfolio, printed by the Atelier Mourlot.

Chagall at Pace / Columbus. Exhibition June 25th Through July 23rd, 1977. Original poster, printed by Pace Gallery, Colu...
07/10/2026

Chagall at Pace / Columbus. Exhibition June 25th Through July 23rd, 1977. Original poster, printed by Pace Gallery, Columbus, Ohio in 1977.

Published by Pace Gallery in a single promotional edition of 2,000 copies to coincide with the summer 1977 exhibition at their facility in Columbus, Ohio. The primary illustration features Chagall’s L'Enlèvement de Chloé (The Abduction of Chloe), a composition originally created as a lithograph by Tériade in 1961 for the landmark Daphnis and Chloé portfolio, printed by the Atelier Mourlot.

Detail from the 1930 pochoir of Matisse’s, Odalisque sur fond rouge. This suite was printed at the renowned and trusted ...
06/10/2026

Detail from the 1930 pochoir of Matisse’s, Odalisque sur fond rouge. This suite was printed at the renowned and trusted workshops of L’Atelier Desjobert, Paris, who specialised in pochoir and fine lithography. They did not use standard mechanical colour presses for the plates. Instead layers of rich, opaque gouache were painstakingly brushed by hand through metal stencils. Because the ink sits thickly on top of the paper rather than soaking flatly into it, the prints possess an intense, tactile, and paint-like quality

Detail from the 1930 pochoir of Matisse’s, Odalisque sur fond rouge. This suite was printed at the renowned and trusted ...
06/10/2026

Detail from the 1930 pochoir of Matisse’s, Odalisque sur fond rouge. This suite was printed at the renowned and trusted workshops of L'Atelier Desjobert, Paris, who specialised in pochoir and fine lithography. They did not use standard mechanical colour presses for the plates. Instead layers of rich, opaque gouache were painstakingly brushed by hand through metal stencils. Because the ink sits thickly on top of the paper rather than soaking flatly into it, the prints possess an intense, tactile, and paint-like quality

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