Drawing Charcoal Trees Stamp Workshop Maurice Colasson

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Maurice Colasson , Painter and Cinema Decorator, born in Paris on May 7, 1911, died on October 31, 1992 in Puget-Ville

Original charcoal drawing on paper, 1940s/1950s   - " trees  " Stamp Atelier at the bottom - Not Signed

From a series of drawings on trees, often in humid areas, Perfect mastery of the stump that characterizes this Artist...

Dimensions 41.9 x 29.7 cm - Good general condition - Protected shipment flat, secure packaging (cost included in shipping costs) - Group shipment for same formats

Provenance, of a lot of study drawings of bodies and miscellaneous by Maurice Colasson


Note: The Frame (Virtual) is not included in the sale, it allows you to see the framed work

  A graduate of the Beaux-Arts in Paris, Maurice Colasson began his film career as an assistant to Georges Wakhévitch.
He was also a theater designer.

In 1937, Maurice Colasson built his first sets for the cinema, those of Prison without bars by Léonide Moguy. His naturalistic approach to beings and things enabled him to work for directors such as Yves Allégret (Dédée d'Anvers, 1947; Such a pretty little beach, 1948), Marcel Pagliero (A man walks in the city, 1949; Les amants du Bras Mort, 1950; The Red Rose, 1950). He also designed the sets for films by Jean Dréville (La Reine Margot, 1954; Les suspects, 1956; La Fayette, 1961), Marguerite Duras and Paul Seban (Lamusica, 1966), Terence Young (Mayerling, 1967).

Reserved, passionate about painting, he never wanted to be exhibited. Preferring to offer some of his works to his acquaintances in the world of cinema or to his close circle

Artist to re-discover....

 


 

 

 

   

   

Dimensions 41.9 x 29.7 cm - Good general condition - Protected shipment flat, secure packaging (cost included in shipping costs) - Group shipment for same formats In 1937, Maurice Colasson built his first sets for the cinema, those of Prison without bars by Léonide Moguy. His naturalistic approach to beings and things enabled him to work for directors such as Yves Allégret (Dédée d'Anvers, 1947; Such a pretty little beach, 1948), Marcel Pagliero (A man walks in the city, 1949; Les amants du Bras Mort, 1950; The Red Rose, 1950). He also designed the sets for films by Jean Dréville (La Reine Margot, 1954; Les suspects, 1956; La Fayette, 1961), Marguerite Duras and Paul Seban (Lamusica, 1966), Terence Young (Mayerling, 1967). Reserved, passionate about painting, he never wanted to be exhibite
Dimensions 41.9 x 29.7 cm - Good general condition - Protected shipment flat, secure packaging (cost included in shipping costs) - Group shipment for same formats In 1937, Maurice Colasson built his first sets for the cinema, those of Prison without bars by Léonide Moguy. His naturalistic approach to beings and things enabled him to work for directors such as Yves Allégret (Dédée d'Anvers, 1947; Such a pretty little beach, 1948), Marcel Pagliero (A man walks in the city, 1949; Les amants du Bras Mort, 1950; The Red Rose, 1950). He also designed the sets for films by Jean Dréville (La Reine Margot, 1954; Les suspects, 1956; La Fayette, 1961), Marguerite Duras and Paul Seban (Lamusica, 1966), Terence Young (Mayerling, 1967). Reserved, passionate about painting, he never wanted to be exhibite
Style 1940-1960
Authenticité Original
Thème Personnage
Type Dessin
Matériau Fusain
Période XXème et contemporain