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Spaightwood Galleries, Inc.
120 Main Street, Upton MA 10568
Maurice de Vlaminck (French 1876-1958): Early Etchings
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Vlaminck was a professional athlete, a professional musician, a poet and novelist, and a painter–printmaker; of all his occupations, that of artist was the one he most clung to for most of his life. One of the original group of Fauves (along with Matisse and Derain) who showed at the Salon d'Automne in 1905, his two strongest influences were Van Gogh and Cezanne, but his greatest love as a painter was color. Although he was a prolific printmaker for many years, most of his earlier works are printed in black and white. But whether he is working in color or in black and white, his style is as good as a signature to identify his works. As Jean Selz has observed in his study, Vlaminck (trans. Graham Snell, [NY: Crown, n.d.], pp. 75-76), "It became possible to speak of Vlaminck's own style because of the consistency, amounting to that of a leitmotiv, with which a certain landscape appeared in his work: a road . . . running across an area of land that the painter has chosen not for its picturesque qualities but rather, it seems, for its nondescript appearance; it looks like so many lumps of earth and as our eyes scan it they linger not so much to admire the spectacle as to draw a life-giving force from it, the same force that impels the march of the seasons, the perpetual round of Nature, the flow of sap in the tree and the ear of corn to swell. This sense of throbbing life is something we feel in the way Vlaminck painted things, and it even infuses the peasant's cottage, standing between the road and the fields, where we have an apprehension of the toilsome lives of the people that live in it." Selz also suggests that Vlaminck's perspective of the countryside owes something to the way a professional bike racer, bent over his handlebars to cut down on air resistance, catches snatches of vision as he speeds by, an idea that looks better the more we look at Vlaminck's landscapes. Vlaminck's works are in every major museum collection; one of his paintings made a new record for the artist in 2002, selling at auction at Christie's (London) for over $10,100,000 (the estimate had been $4 to $5 million).
Selected Bibliography: Galerie Charpentier, L'Oeuvre de Vlaminck: Du Fauvisme a nos Jours (Paris: Galerie Charpentier, 1956: essay on Vlaminck by Claude Roger-Marx, catalogue of 198 works, brief essay by Pierre Mazars, selection of impressive plates); Florent Fels, Vlaminck (Paris: Marcel Seheur, 1928); Maurice Genevoix, Vlaminck. L'homme. L'oeuvre (Paris: Flammarion, 1954); Daniel Henry [pseud., Daniel-Henry Kahnweiler], Maurice De Vlaminck (Junge Kunst. 11: Leipzig: Klinkhardt & Biermann, 1920); Klaus G. Perls, Vlaminck (NY: Crown, 1941); Jacques Perry with photographs by Roger Hauert, Maurice de Vlaminck (Geneve: Rene Kister, 1957); Gabriel Reuillard and Maurice de Vlaminck, Grasse Normandie. L'Invitation au Voyage with 87 previously unpublished drawings by Maurice de Vlaminck (Paris: Andre Delpeuch, 1927); Marcel Sauvage, Vlaminck. Sa vie et son message (Geneve: Pierre Cailler, 1956); Jean Selz, Vlaminck (New York: Crown, n.d.); Maurice de Vlaminck, Dangerous Corner (New York: Abelard-Schuman, 1961); Katalin De Walterskirschen, Maurice De Vlaminck. Catalogue Raisonne de L'oeuvre Grave (Paris: Flammarion, 1974; the standard reference to Vlaminkc's original prints); Leon Werth, Vlaminck. Vingt et une reproductions d'apres ses tableaux (Paris: Les editions Bernheim-Jeune, 1925).
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Boissy-les-Perches (W. 148). Original etching and drypoint, 1951. Edition: 50 signed and numbered impressions on Rives. Ours is a brilliant proof before the edition printed on Arches paper, signed in ink and titled in the lower left corner, "Chemin à Boissy-les-Perches" (not visible in photo). See Walterskirchen p. 128 for another example on Arches like ours, also titled in ink like ours, and presented in 1953 as a gift. Image size: 258x319mm. Price: SOLD.
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Beaumont / Oise (W. 118). Original drypoint and etching, 1927. 875 impressions for Georges Duhamels' Vlaminck (Paris, 1927); our impression is one of 850 on velin teinté d'Annecy. A beautiful early impression (from 37/875). Vlaminck (along with Matisse, Rouault, and Derain) was one of the original Fauves. Image size: 100x137mm. Price: $975.
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Nesles la Vallée (W. 119). Original drypoint and etching, 1927. 875 impressions for Georges Duhamels' Vlaminck (Paris, 1927); our impression is one of 850 on velin teinté d'Annecy. A beautiful early impression (from 37/875). Vlaminck (along with Matisse, Rouault, and Derain) was one of the original Fauves. Image size: 102x136mm. Price: $975.
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Environs de Marines / Oise (W. 120). Original drypoint and etching, 1927. 875 impressions for Georges Duhamels' Vlaminck (Paris, 1927); our impression is one of 850 on velin teinté d'Annecy. A beautiful early impression (from 37/875). Vlaminck (along with Matisse, Rouault, and Derain) was one of the original Fauves. Image size: 101x136mm. Price: $975.
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Une Eglise dans le Vexin (W. 121) . Original drypoint and etching, 1927. 875 impressions for Georges Duhamels' Vlaminck (Paris, 1927); our impression is one of 850 on velin teinté d'Annecy. A beautiful early impression (from 37/875). Vlaminck (along with Matisse, Rouault, and Derain) was one of the original Fauves. Image size: 101x136mm. Price: $975.
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Le Pigeonnier (W. 129). Original drypoint and etching, 1927. 25 signed impressions impressions on Japonand 50 on vergé Holande de van Gelder with the drystamp of the publisher, Galeries des Peintres-Graveurs, of which ours is n. 42. Frapier, the publisher, also published works by Rouault and many other important modernist artists. This is plate 7 of the Suite Visage de Maisons. Vlaminck (along with Matisse, Rouault, and Derain) was one of the original Fauves. Image size: 103x166mm; paper size: 310x506mm. Price: $2250.
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Cafe de Paris (W. 132) . Original drypoint and etching, 1927. 25 signed impressions impressions on Japonand 50 on vergé Holande de van Gelder with the drystamp of the publisher, Galeries des Peintres-Graveurs, of which ours is n. 42. Frapier, the publisher, also published works by Rouault and many other important modernist artists. This is plate 10 of the Suite Visage de Maisons. Vlaminck (along with Matisse, Rouault, and Derain) was one of the original Fauves. Image size: 103x166mm; paper size: 310x506mm. Price: $2250.
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La Rue de la Glaciere (W. 146), Original etching, 1937. 500 impressions for Paris 1937 plus proofs with large margins, of which this is one. Ours is an impression on M.B.M. paper with wide margins outside the portfolio edition. Signed in the plate. Image size: 332x260mm. Price: $850.
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Spaightwood Galleries, Inc.
To purchase, call us at 1-800-809-3343 (508-529-2511 in Upton MA & vicinity) or send an email to sptwd@verizon.net. We accept AmericanExpress, DiscoverCard, MasterCard, and Visa.
Spaightwood Galleries is located at 120 Main St (Highway 140) in Upton MA at the corner of Main St and Maple Ave in a rehabilitated Unitarian Church. For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.
Visiting hours: Saturday and Sunday noon to six and other times by arrangement. Please call to confirm your visit. Browsers and guests are welcome.
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For a review of the show that concludes, "Art exhibits in Madison rarely get this good," click review.
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