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Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot 79, Béraldi 66, Wentworth 75.ii/iii. 16 1/2 x 22 1/8 (sheet 21 1/2 x 28 1/2). Edition about 500 in three states. Printed in brown / black ink on chine appliqué (China paper mounted on stiff wove paper). Signed and titled in the plate. Housed in a burled wood frame with a silk mat and gold liner. $4,500
En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge stains on the upper sheet corners, well outside the image. A rich impression with plate tone printed on laid paper. The plate was included in A portfolio of Autograph Etchings, published by James R. Osgood and Co., Boston, 1881. Impressions from this portfolio are signed in pencil and have the artist's red stamp (Lugt 1545). Housed in an archival mat and a classical 17 1/2 x 21 1/2-inch gold Whistler style frame. $4,500.
La Galerie du 'Calcutta' (Souvenir d'en Bal à Bord). 1898.Drypoint. Wentworth 25. 10 3/8 x 14 1/4 (sheet 14 5/8 x 19). Edition of 25 in Ten Etchings and 25 separate plates; total edition 50. A rich impression with drypoint burr printed on cream laid paper. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the image lower right. Price upon request.
Le hamac (The Hammock). 1880. Etching and drypoint. Wentworth 46. 10 5/16 x 7 1/4 (sheet 14 1/2 x 9 7/16). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 160. A rich impression with drypoint burr printed on cream laid paper with a partial Strasbourg Lily watermark. Signed in the plate and in pencil and and with the artist's red stamp (Lugt 1545) in the image lower right. Housed in an 21 x 17 x 2-inch carved classic colonial style gold leaf frame, $4,750.
Le hamac (The Hammock). 1880. Etching and drypoint. Wentworth 46. 10 5/16 x 7 1/4 (sheet 13 5/8 x 10). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 16 A rich impression printed on cream wove paper. Signed in the plate. Housed in an archival French mat and an 18 3/4 x 17 1/4-inch champagne gold frame. $3,000.
Printemps (Spring). 1878. Etching and drypoint. Tissot 30, Béraldi 27, Wentworth 34. 15 5/8 x 6 (sheet 24 x 10 1/8). Edition about 100. A rich impression printed on cream 'Van Gelder Zonen' laid paper, on the full sheet with deckle edges. Housed in a gold-leaf Whistler-type frame with a silk mat (Frame size 31 1/2 x 18). Signed in the plate, upper right. $4,500.
Querelle d'amoureux. (Quarreling). 1870. Etching and drypoint. Tissot 11, Béraldi 11, Wentworth 18. 11 7/8 x 7 1/2 (sheet 13 1/2 x 8 7/16). Edition 50: 25 published in Ten Etchings and 25 separate. A rich impression with burr printed on cream laid paper. Signed and dated in the plate, and with Tissot's red stamp (Lugt 1545) in the plate. $9,000.
James Jacques Joseph Tissot (October 15, 1836 - August 8, 1902) was a French painter.Tissot was born at Nantes. He studied at the Ecole des Beaux-Arts in Paris under Ingres, Flandrin and Lamothe, and exhibited in the Paris Salon for the first time at the age of twenty-three. In 1855 Tissot moved to Paris where he studied under Élie Delaunay, Louis Lamothe and Hippolyte Flandrin. Lamothe, who had been a pupil of Ingres, introduced him to Edgar Degas. The two men became close friends. Another friendship formed at this time was with James McNeill Whistler. Two portraits, including one of Tissot's mother, were among the artist's first exhibits at the Paris Salon in 1859In 1861 he showed The Meeting of Faust and Marguerite, which was purchased by the state for the Luxembourg Gallery. His first characteristic period made him a painter of the charms of women. Demi-mondaine would be more accurate as a description of the series of studies which he called La Femme a Paris.
He fought in the Franco-Prussian War, and, falling under suspicion as a Communard, left Paris for London. Here he studied etching with Sir Seymour Haden, drew caricatures for Vanity Fair, and painted portraits as well as genre subjects. Sometime in the 1870s Tissot met a divorcée, Mrs. Kathleen Newton, who became his companion and the model for many of his paintings. Mrs. Newton moved into Tissot's household in 1876 and lived with him until her suicide in the late stages of consumption in 1882 at the age of 28.
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