Woodcut on vélin d’Arches paper. Paper size: 15 x 11 inches. Excellent condition. Unsigned and unnumbered, as issued. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Claires, Paris; printed by Mourlot Frères, Paris, May 20, 1965. Excerpted from the volume (translated from French), The lithographs of Derain and Van Dongen were shot by Lucien Détruit; those of Dufy, Matisse, Chagall, Dunoyer de Segonzac, Cavailles, Terechkovitch and Carzou were shot by Mourlot Frères; those of Picasso and Buffet were shot by P.J. Ballon; Miró's was shot in l'atelier Arte, who also printed, in phototypy, the frontispice. The Villon and Zadkine etchings were shot by Manuel Robbe; Braque's was shot by A. and P. Crommelynck; the illustrations of Vlaminck, Rouault, Pascin and Utrillo were engraved on wood and shot by Raymond Jacquet. André Warnod's texts, collected by his daughter, Jeanine Warod, were composed by hand in De Roos de corps 24 and printed in Paris on the presses of Daragnès. Finished printing on May 20, 1965. Justification of the draw: 3 examples on grand vélin d’Arches with the inked coppers of an illustration in taille-douce; a silk test of two lithographs; the four illustrations engraved on wood, framed; a decomposition of the colors of a lithograph; a complete suite on Arches of the illustrations, numbered 1-3. 16 examples on grand vélin d’Arches with a silk proof of two lithographs; the four illustrations engraved on wood, framed; a decomposition of the colors of a lithography; a complete suite on Arches of illustrations, numbered from 4 to 19. 21 examples on grand vélin d’Arches comprising of a silk proof of two lithographs; the four illustrations engraved on wood, framed; a complete suite on Arches of the illustrations, numbered from 20 to 40. 40 examples on grand vélin d’Arches with a complete suite on Arches of the illustrations, numbered from 41 to 80. 170 examples on grand vélin d’Arches, numbered from 81 to 250 GEORGES ROUAULT (1871-1958) French painter, printmaker, ceramicist, and maker of stained glass who, drawing inspiration from French medieval masters, united religious and secular traditions divorced since the Renaissance. Rouault was born in a cellar in Paris during a bombardment of the city by the forces opposed to the Commune. His father was a cabinetmaker. A grandfather took an interest in art and owned a collection of Honoré Daumier’s lithographs; Rouault said later that he “went first to school with Daumier.” In 1885 he enrolled in an evening course at the Paris École des Arts Décoratifs. From 1885 to 1890 he was apprenticed in a glazier’s workshop; his mature style as a painter was undoubtedly influenced by his work on the restoration of medieval stained-glass windows, including those of Chartres cathedral. In 1891 he entered the École des Beaux-Arts, where he soon became one of the favourite pupils of the Symbolist painter Gustave Moreau, in a class that also included the young Henri Matisse and Albert Marquet. After the death of Moreau in 1898, a small Paris museum was created for his pictures, and Rouault became the curator. Among the major artists of the 20th-century school of Paris, Rouault was an isolated figure in at least two respects: he practiced Expressionism, a style that has never found much favour in France, and he was chiefly a religious painter—one of the most convincing in recent centuries. Both statements, however, need qualification. Rouault was not as fiercely Expressionistic as some of his Scandinavian and German contemporaries; in some ways his work is a late flowering of 19th-century Realism and Romanticism. And he was not an official church artist; his concern with sin and redemption was deeply personal.