More pochoir prints from “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.
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.
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.
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.
An Americas that isn’t coming back, plates from “Vues des Cordillères, et monumens des peuples indigènes de l’Amérique” which was published in 1816 and written by Alexander von Humboldt. Published in Paris.
Pochoir prints from Eugène Grasset’s 1896 portfolio “La Plante et ses Applications Ornementales sous la Direction.” Make your hallway look like heaven.
“Solomon’s Seal.” Plate 34, page 65. Collections of the Smithsonian Libraries. Biodiversity Heritage Library, digitalizing sponsor. In the public domain due to age. via https://archive.org/details/planteetsesappl00Gras/page/n65/mode/1up