George Lucien Guyot Lithograph of Bear, Circa 1930s

This lithograph by George Lucien Guyot is signed in the lower left hand corner and "framed" (I use this term loosely as the framing techniques of the 1900s-1930s were not as advanced as they are today.) behind glass with tape sealing its edges. The entire piece measures 12.5" x 9.5" and has a label on the reverse that reads Garde Meuble du Colisée; 5, Rue du Colisée; and 5198.

Thank you to Scarab Antiques for this short biographical sketch of Guyot:

Georges Lucien Guyot
(1885-1973)
French painter of animals, landscapes, pastel drawer, engraver, sculptor and illustrator.


Guyot began work at 13 as a sculptor on wood for a furniture maker attending night school at the School of Fine Art in Rouen, Normandy. 

In 1918, he moved to Paris, settling in Picasso's Atelier at 'Bateau-Lavoir', after Picasso left Montmarte. He worked and spent his life in this atelier until 'Bateau-Lavoir' burnt in 1970. 


He exhibited paintings and sculptures at the Salon des Artistes Français, Salon des Indépendants, Salon d'Automne, Salon des Tuileries, Salon des Peintres Témoins de leur Temps.


He was fascinated by wild life and animals and spent many hours studying them before translating them into sculptures, paintings, engravings, illustrations, wild animals, monkeys and bears.

One of his sculptures of a bear is exhibited at the Vincennes zoo.

In 1931, he joined with François Pompon, Charles Artus and Paul Jouve, to form 'The Group of Twelwe' which was active until the Second World War.


He created also animal for the National Manufacture of Sèvres & for Haviland in Limoges.


He painted landscapes of places in Rouen, views of Paris & its environs & of Montmartre where he lived.

He illustrated 'De Goupil à Margot' by Louis Pergaud and 'Le Livre des Bêtes' by André Demaison.


*****Condition: Please note that the print is sandwiched between glass and cardboard and the edges sealed with tape, the latter of which is missing in many places or peeling off on the front. The tape's condition on the reverse of the piece is much better, probably since the backside was exposed to less light and elemental factors. The print has discoloration or foxing owing to exposure from the frame not staying sealed. Also, the edges of the glass have some chipping. I've attempted to show the condition of the piece with the photos, including the edges of the glass that still have the old adhesive from the deteriorated tape. Though it's not sticky, it is still evident. Please examine the photos carefully and do let me know if you need more as I'll be happy to oblige.

*****The piece could be displayed as such but I recommend having it professionally framed to safely preserve it.

Thank you for looking.