Bords de l'Oise, Circa 1950
Print : Stencil · 65 x 75 x 0.1 cm 25.6 x 29.5 x 0 inch · Ready to hang
€450
450 €
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Shipped from: France
Delivery to: France , € 32
Estimated delivery: Two to three weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 150 copies
1 copy available
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Plate signed
Technique & Support
Dimensions ( cm • inch )
65 x 75 x 0.1 cm 25.6 x 29.5 x 0 inch Height x Width x Depth
Artwork dimensions including frame
68.5 x 78.5 x 2.5 cm 27 x 30.9 x 1 inch
Sold by
Art gallery
Professional art gallery • France
Credentials
Vetted seller since 2024
Description
Two red-roofed houses are reflected in the Oise River, as the water flows before us beneath generous foliage.
This original multiple work by Vlaminck was published by Guy Spitzer and is numbered 47 from an edition of 150. It was created using the process developed by Guy Spitzer, utilizing stencils developed through a photographic process. This technique yields a result that is remarkably close to Maurice de Vlaminck’s original gouache.
This original multiple work by Vlaminck was published by Guy Spitzer and is numbered 47 from an edition of 150. It was created using the process developed by Guy Spitzer, utilizing stencils developed through a photographic process. This technique yields a result that is remarkably close to Maurice de Vlaminck’s original gouache.
Presentation
Maurice de Vlaminck (1876–1958) was a French painter and key figure in the Fauvism movement. Known for his bold use of vibrant, non-naturalistic colors and expressive brushstrokes, Vlaminck's early work focused on dynamic landscapes and village scenes. His technique was marked by intense contrasts of color, aiming to convey emotional impact rather than realism.
By the 1910s, Vlaminck shifted towards a darker, more structured style, influenced by Post-Impressionism and Cézanne. Though he moved away from Fauvism later in his career, his early contributions helped define the movement's expressive power in modern art.
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