Category: Print

Pochoir prints from the 1924 portfolio “Nouvelles Variations. Soixante-quinze motifs décoratifs en vingt planches.” It is a collection of decorative motifs by the artist Edouard Benedictus and was published in Paris by Albert Lévy.

Front cover. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f1.planchecontact
Title page. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f12.item#
Lower image, View 14, Page 1. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f14.item
View 18, Page 3. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f18.item#
View 22, Page 5. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f22.item#
View 30, Page 9. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f30.item
View 32, Page 10. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f32.item
View 34, Page 11 (lower left detail) Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f34.item#
View 38, Page 13. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f38.item
View 38, Page 17. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f46.item#
View 52, Page 20. Benedictus: Nouvelles Variations: soixante-quinze motifs décoratifs en vingt planches. Editions Albert Lévy – Paris – Librairie Central des Beaux-Arts. Published in 1924. Edouard Benedictus, artist. Albert Lévy, publisher. Pochoir prints. Collections of the Bibliothèque nationale de France gallica.bnf.fr. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/bpt6k15077177/f52.item#

This portfolio can be found in numerous other collections, including the Rhode Island School of Design, the Victoria and Albert Museum, and Skidmore College just to name a few. The Rhode Island School of Design (RISD) site has a link that lets you download a PDF of the entire portfolio.

https://digitalcommons.risd.edu/specialcollections_books_pochoir/8

Beautiful prints that sing their own songs of the end of summer. Charles-Louis Houdard, artist (1855-1931). Collections of the GallicaBnF, the Bibliothèque Nationale de France and its partners.

L’Oise à Précy. 1901. French. Print, colored aquatint. Charles-Louis Houdard, artist and engraver (1855-1931). Signed on the lower right. Collections of the  Bibliothèque nationale de France, département Estampes et photographie. In the public domain due to age. https://gallica.bnf.fr/services/engine/search/sru?operation=searchRetrieve&version=1.2&query=%28%28dc.creator%20all%20%22Houdard%2C%20Charles-Louis%22%20or%20dc.contributor%20all%20%22Houdard%2C%20Charles-Louis%22%29%29&keywords=Houdard,%20Charles-Louis&suggest=3

L’étang du moulin à Sémide. 1902. French. Print, colored aquatint. Charles-Louis Houdard, artist and engraver (1855-1931). Signed on the lower right. Collections of the  Bibliothèque nationale de France, département Estampes et photographie. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b10548905p?rk=64378;0
Au bois, cygnes sur un ruisseau. 1901. French. Print, colored aquatint. Charles-Louis Houdard, artist and engraver (1855-1931). Signed on the lower right. Collections of the  Bibliothèque nationale de France, département Estampes et photographie. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b10548874r?rk=171674;4
Fin de Jour. 1900. French. Print, colored aquatint. Charles-Louis Houdard, artist and engraver (1855-1931). Signed on the lower right. Collections of the  Bibliothèque nationale de France, département Estampes et photographie. In the public domain due to age. via https://www.instagram.com/gallicabnf/p/DNTOVTJNEq_/?hl=en or https://gallica.bnf.fr/ark:/12148/btv1b10548876n?rk=278971;2#
Sur la Bresle au Tréport. 1898. French. Print, colored aquatint. Charles-Louis Houdard, artist and engraver (1855-1931). Signed on the lower right. Collections of the  Bibliothèque nationale de France, département Estampes et photographie. In the public domain due to age. via https://gallica.bnf.fr/services/engine/search/sru?operation=searchRetrieve&version=1.2&collapsing=disabled&rk=407727;2&query=%28%28dc.creator%20all%20%22Houdard%2C%20Charles-Louis%22%20or%20dc.contributor%20all%20%22Houdard%2C%20Charles-Louis%22%29%29%20and%20dc.relation%20all%20%22cb444817712%22%20sortby%20dc.title%2Fsort.ascending
La Meuse à Dordrecht. 1898. French. Print, colored aquatint. Charles-Louis Houdard, artist and engraver (1855-1931). Signed on the lower right. Collections of the  Bibliothèque nationale de France, département Estampes et photographie. In the public domain due to age. via https://gallica.bnf.fr/ark:/12148/btv1b10548899t?rk=21459;2

Life lived large and not so large. Aquatints by Joseph Constantine Stadler (1755-1828) of British people and places. 1800-1815 ish.

The Procession at Freemasons’ Hall, Great Queen Street, on the occasion of the Annual Dinner for young girls assisted by the Order. Published in London on October 1, 1808 in R. Ackermann’s Repository of the Arts/Microcosm of London. After Pugin and Rowlandson. British. Aquatint. Joseph Constantine Stadler, engraver (1755-1828). Collections of the Yale Center for British Art. CC0 License 1.0. via https://commons.wikimedia.org/wiki/File:Joseph_Constantine_Stadler_-_Freemasons_Hall,_Great_Queen_Street_-_B1975.6.65_-_Yale_Center_for_British_Art.jpg The exact title was found here https://fineartamerica.com/featured/the-procession-at-freemasons-hall-joseph-constantine-stadler.html
Hafod House. Taken from “Tour to Hafod”, a fine collection of plates depicting the mansion and its surrounding landscape engraved by Stadler after drawings by Smith. 1810. British. Hand-colored aquatint engraving. Joseph Constantine Stadler, engraver (1755-1828). Published by White and Company. Image © 2024 Donald A. Heald Rare Books.  Fair use license. via https://www.donaldheald.com/pages/books/13579/joseph-constantine-stadler-after-john-warwick-smith/hafod-house

Great Fall of the Fynach. 1809. British. Colored aquatint. Joseph Constantine Stadler, engraver (1755-1828) after J. Smith. Yale Center for British Art, Paul Mellon Collection. Artwork itself in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:42060
Kitchen of Trinity College. Published in London September 1, 1815 in R. Ackermann’s History of Cambridge. 1815. British. Colored aquatint. Joseph Constantine Stadler (1855-1828) engraver after William Henry Pyne, 1769–1843. Yale Center for British Art; Gift of Herman W. Liebert. Artwork itself in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:52922
Wobourn Sheepshearing, dedicated by permysion to his grace the Duke of Bedford. 1811. British.
Hand-colored aquatint with stipple and etching on chine colle. M. N. Bate and Joseph Constantine Stadler after George Garrard. Yale Center for British Art, Paul Mellon Collection. Artwork itself in the public domain due to age. via https://collections.britishart.yale.edu/catalog/tms:23509
Hospital, Middlesex. Published in London November 1 1808 in R. Ackermann’s Repository of the Arts. British. Colored aquatint. Joseph Constantine Stadler, engraver, after Augustus Charles Pugin and Thomas Rowlandson. Yale Center for British Art, Gift of Chauncey Brewster Tinker. Artwork itself in the public domain due to age via. https://collections.britishart.yale.edu/catalog/tms:22847
Lloyd’s Subscription Room. Published in London January 1, 1800 in R. Ackermann’s Repository of the Arts. British. Colored aquatint. Joseph Constantine Stadler, engraver, after Augustus Charles Pugin and Thomas Rowlandson. Yale Center for British Art, Gift of Chauncey Brewster Tinker. Artwork itself in the public domain due to age via https://collections.britishart.yale.edu/catalog/tms:22845
To the King’s Most Excellent Majesty under the patronage of his Royal Highness the Prince of Wales, this view of the Pavilion and Steyne at Brighton with the promenade is humbly Dedicated by his Majesty’s most Dutiful Servant, Charles Richards. 1806. British. Colored aquatint. James Mitan and Joseph Constantine Stadler, engraver after Charles Cracklow (Craig and Cracklow). Yale Center for British Art, Paul Mellon Collection. Artwork itself in the public domain due to age via https://collections.britishart.yale.edu/catalog/tms:30859

Woodblock prints from “Kogei Shinzu” (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Many of these depict designs for kimonos. From one folio but being sold as separate prints.

Birds: owl, crane and eagle. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm
Butterflies. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm
Floral design, chrysanthemum. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm
Snowflakes. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm
Floral design. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm
Water dragon. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm
Kimono design. Woodblock print from Kogei Shinzu (New Designs for the Applied Arts), created by Tanaka Yohu and published by Yamada in 1892. Image © Panteek.com. Artwork itself in the public domain due to age. via https://www.panteek.com/Tanaka/pages/tky27-1a1.htm

Landscapes of America by Dutch-born American painter and etcher Cornelis Botke. Living from 1887 to 1954, he studied at the School for Applied Design in Haarlem, Holland, and the Chicago Art Institute. Husband of American artist Jessie Arms Botke.

Eucalypti. 1930. Linocut in colors on laid Japan paper, signed in pencil, titled and inscribed ‘Botke Prints”. Cornelis Botke, artist (1887-1954). © Estate of the artist. Image © Bonhams 2001-2023. Fair use license. via https://www.bonhams.com/auction/28421/lot/23/cornelis-botke-1887-1954-eucalypti/
Spring. 1930. Color linoleum block print on laid paper. Edition unknown; signed, titled and inscribed ‘Botke Prints’ in pencil. Cornelis Botke, artist (1887-1954). Printed by Jessie and Cornelis Botke. Number 10-6655. © Estate of the artist. Image © 2023, James Main Fine Art. Fair use license. via https://www.jamesmainfineart.com/cornelis-botke
Lagoon, Morro Bay. 1938. Etching on wove paper, unknown edition, signed and titled in pencil, good impression and condition. Number 10-6452. Cornelis Botke, artist (1887-1954). © Estate of the artist. Image © 2023, James Main Fine Art. Fair use license. via https://www.jamesmainfineart.com/cornelis-botke

Images from M. Digby Watt’s “The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. From various folios issued between 1851 and 1853. Collections of the New York Public Library.

The Amazon. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-8fe5-a3d9-e040-e00a18064a99
Embroidery in Bullion from Tunis. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-8fe8-a3d9-e040-e00a18064a99
Specimens of Turkish Embroidery. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-8fee-a3d9-e040-e00a18064a99
A group of objects in glass – cut and engraved. Consisting of an engraved claret, and cut cream jug by Green of London – a Venetian champagne and an engraved ale glass by Bacchus of Birmingham – and an engraved claret glass and cut salt cellar by Apsley Pellatt of London. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-8ff6-a3d9-e040-e00a18064a99
“Cassette” carved in ivory, exhibited by Matifat of Paris. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-8ff9-a3d9-e040-e00a18064a99
Black lace flounce, (Nottingham manufacture) by Greasely and Hopcroft. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-9002-a3d9-e040-e00a18064a99
 Metal bedstead, by Winfield of Birmingham. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-900e-a3d9-e040-e00a18064a99
A Chinese looking glass in carved wood frame. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-9019-a3d9-e040-e00a18064a99
Pianofortes by Collard and Collard of London. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-901e-a3d9-e040-e00a18064a99
The Coventry ribbon, and specimens of ribbons from Saint Etienne, France. Chromolithograph from Sir M. Digby Watt’s The Industrial Arts of the Nineteenth Century: a series of illustrations of the choicest specimens produced by every nation, at the Great Exhibition of Works of Industry held in 1851. Collections of the New York Public Library. In the public domain due to age. via https://digitalcollections.nypl.org/items/510d47e3-901f-a3d9-e040-e00a18064a99

Hotel décor from the old days in Paris. Doesn’t look that way anymore but you can always dream of Sarah Bernhardt stopping by for tea. Collections of the Indianapolis Museum of Art (Newfields).

Escalier, Hôtel du Figaro, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63484/
Vestibule, Hôtel du Figaro, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/61332/
Salle de Bains, Hôtel Boulevard Exelmans, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63483/
Vestibules, Hôtel du Figaro, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Jean Arnould Léveil, artist. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63509/
Vestibule, Hôtel de Menier, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63522
Grand Salon, hôtel, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63521/
Vestibule, Hôtel Boulevard Exelmans, Paris. Plate from L’architecture privée au XIXme siècle (Troisième Série). Published in France in 1877. Chromolithograph. César Denis Daly, editor. Collections of the Indianapolis Museum of Art. Artwork itself in the public domain due to age. via http://collection.imamuseum.org/artwork/63494/

More pochoir prints from the folio “Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano.” By Enrique Gillet, it was published by A. Morance of Paris in 1922.

Page 37, Plate 13 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n36/mode/1up
Page 38, Plate 11 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n39/mode/1up
Page 40, Plate 15 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n40/mode/1up
Number 16 Page 42 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n42/mode/1up
Number 17, Page 44 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n44/mode/1up
Number 18, Page 46 from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n44/mode/1up
from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. Image 24, Page 59. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n59/mode/1up
from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. Image 26, page 62. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n62/mode/1up
from Viñetas decorativas según el gusto del día. 30 láminas iluminadas a mano. Image 30, page 70. 1922. French. Collections of and digitalized by the Sterling and Francine Clark Art Institute Library. In the public domain due to age. via https://archive.org/details/vietasdecorativa00umbd/page/n70/mode/1up

Porchoir prints by Natalia Goncharova and Mikhaïl Larionov. Taken from the folio “L’Art Décoratif Théatrical Moderne”, published in Paris in 1921. Part of an auction at Sotheby’s, all of these images being from the same lot. Natalia Goncharova did design work for the Ballets Russes.

Signed Mikhaïl Larionov on the lower right. From L’Art Décoratif Théatrical Moderne.. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana/goncharova-natalia-mikhail-larionov
From L’Art Décoratif Théatrical Moderne.. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana/goncharova-natalia-mikhail-larionov
Signed Mikhaïl Larionov on the upper left. From L’Art Décoratif Théatrical Moderne.. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana/goncharova-natalia-mikhail-larionov
Signed with the initials N. G. for Natalia Goncharova on the lower right. From L’Art Décoratif Théatrical Moderne.. Image © 2021 Sotheby’s. Fair use license. via https://www.sothebys.com/en/buy/auction/2022/fine-books-and-manuscripts-including-americana/goncharova-natalia-mikhail-larionov

Prints by Belgian artist Octavia Campotosto, daughter of painter Henry Campotosto, subject of yesterday’s post. Not finding much else about Octavia in terms of biographical detail except that she visited Italy and showed her pictures from 1871 to 1874 at the Royal Academy, flourishing from 1871 to 1892.

The Girl and The Goat. ca. 1886. Belgian. Print. Octavia Campotosto, artist. Signed in pencil by the artist on the lower right. In the public domain due to age. Image courtesy of Jonathan Bohman, @jonathan_bohman on Twitter. via https://pbs.twimg.com/media/FF19sTrWUAMGu8x?format=jpg&name=large or https://www.etsy.com/listing/1075362145/the-girl-and-the-goat-by-octavia










A girl beggar with large messy hair reclined on the ground, her legs to the left, leaning over a block on the right, looking down. 1886. Belgian. Etching. Octavia Campotosto, artist. Signed in pencil on the bottom right Octavia Campotosto/London/1 January 1886. Inscribed on the upper right Published January 28, 1886 by S. Palladiense, 62 New Bond Street, London. Collections of the British Museum. Image © The Trustees of the British Museum. Artwork itself in the public domain due to age.
via https://www.britishmuseum.org/collection/object/P_1930-1201-16

Many thanks to Jonathan Bohman, @BohmanArt on Twitter, who saw my post of yesterday and told me about the first image and the artist. Only finding the two prints, the other being in the British Museum.