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 Raymond Jacquet, 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 KEES VAN DONGEN (1877–1968), born Cornelis Theodorus Maria 'Kees' van Dongen (1877 –1968) was a Dutch-French painter who was one of the leading Fauves. Fauves was coined by art critic Louis Vauxcelles for the group of artist that used bright colors. By 1905 he had left the influence of his training and symbolism style to become more controversial by exhibiting at the Salon d’Automne exhibit with a more radical form and color. His most important period is considered to be 1905-1920 where he focused on dancers, singers, masquerades, theater and all types of after-hours life. When he started to exhibit in Paris with Matisse, Derain, Marquet, Vlaminck, Camoin and Puy, he moved into a more avante-garde styling. Other artist that were moving to this form included, i Vlaminck, Friesz, Rousseau, Delaunay, Marquet, and Vuillard. These painters all felt the need to renew their methods of painting. Van Dongen (married to Augusta Preitinger by now) moved to Montmartre in 1906 where he was part of Pablo Picasso’s circle. He sold paintings, did sketches for a newspaper and held costume balls which he charge admission for all to make money. It was after the World War I that he started to create the lush colors of his Fauvist style. This helped cement a reputation in the upper class of France where he had a demand for his portraits. By 1959, Kees van Dongen was not living Monaco. Nine years later he would die. A large part of his work is held by the New National Museum of Monaco.