Null Félix BRACQUEMOND (1833 - 1914)

The Seine at Bas-Meudon.

Etching and dr…

Description

Félix BRACQUEMOND (1833 - 1914) The Seine at Bas-Meudon. Etching and drypoint. Two proofs before the mention "Gazette des Beaux-Arts" and the name of the printer at the bottom. (Béraldi 187, Iie et IIIe/IV) 15,5 x 22,5cm. Small margins.

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Félix BRACQUEMOND (1833 - 1914) The Seine at Bas-Meudon. Etching and drypoint. Two proofs before the mention "Gazette des Beaux-Arts" and the name of the printer at the bottom. (Béraldi 187, Iie et IIIe/IV) 15,5 x 22,5cm. Small margins.

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Estim. 400 - 500 EUR

BRACQUEMOND Félix (1833 - 1914) - "The Mona Lisa". Engraving after Leonardo da Vinci. Epreuve avant lettre, on Arches laid paper, annotated "4ème épreuve retouchée / 5 juillet 88" in gray pencil. Copper margins. 31 x 21.8 cm. Condition A (cut within the copperplate markings on the left and right, rare small marginal handling stains).

Starting price 60 EUR

FELIX BRACQUEMOND (1833-1914). "Vue du pont des Saints Pères, Paris, 1877. Etching on paper. Signed, located and dedicated. Printer Salmon. With damp stains, folds, creases and dirt. Size: 19.5 x 24.5 cm (etching); 30 x 43 cm (paper). Trained as an industrial lithographer in his youth, Felix Bracquemond later took up painting with Joseph Guichard, a disciple of Ingres. He took up metal engraving and etching around 1853, and played a key role in the revival of this technique in France. He was one of the founding members of the Société des aquafortistes (1862). He also worked in the decoration of porcelain pieces, with a relationship with the Sèvres factory. Bracquemond received several awards, including the title of Chevalier de la Légion d'Honneur in 1882 and the Grand Medal of the Universal Exhibition in Paris (1900).

Estim. 500 - 800 EUR

ACCORDING TO GOYA [BRACQUEMOND / GOYA]. DON QUICHOTTE IN HIS STUDY. [Paris], [Gazette des Beaux Arts], [c. 1860]. Etching, 14.5 cm x 21 cm, set in a turn-of-the-century gilt frame. Some spotting. Felix Bracquemond (1833-1914) produced this etching after a plate by Goya (1746-1828). It takes up the fantastic themes (grotesques, witches, ferocious beasts... ) dear to the author of "Caprichos". It was printed by Delâttre in Paris. For Goya, cf. Beraldi 286. Uncommon.

Estim. 1 500 - 2 000 EUR

CREIL MONTEREAU Part of a table service named Rousseau in fine earthenware from the Lebeuf et Milliet manufacture, the model created in 1866 by Eugène Rousseau and Félix Bracquemond, decorated in polychrome in the Japanese style with birds, fish, mollusks, crustaceans, insects, plants, flowers and herbs, the contoured edges highlighted with a blue comb, comprising 58 pieces: 23 dinner plates D. 24.5 cm 11 soup plates D. 24.5 cm 15 dessert plates D. 23 cm (one broken, re-glued) 1 oval platter H. 31.5 cm - L. 38cm 2 round dishes D. 31.5 cm (one cracked) 1 round terrine and lid L. 21 cm (one handle glued back) 1 bowl D. 28.2 cm 2 footed bowls H. 8 cm - D. 21.8 cm 1 footed bowl H. 10 cm - D. 23.3 cm 1 two-handled pot H. 14 cm (without lid) All pieces are marked on the reverse: "Creil LM et Cie Montereau modèle Rousseau à Paris", Second half of the 19th century. A few chips and stains. Bibliography : - L. d'Albis, Les débuts du japonisme céramique en France de Bracquemond à Chapelet, Revue de Sèvres, n° 7, 1998, pp. 13-20. -J.P. Bouillon, C. Meslin-Perrier. Félix Bracquemond et les arts décoratifs, du japonisme à l'art nouveau, Musée Adrien Dubouché, exhibition catalog, 2005. The story of the Rousseau service begins on March 16, 1866, with a letter from François-Eugène Rousseau (1827-1890), a glass artist and porcelain and earthenware dealer at 43 rue Coquillière in Paris, to Félix Bracquemond, explaining his plans for a dinner service to be presented at the Universal Exhibition in Paris, and asking Bracquemond for technical advice on its production. Félix Bracquemond (1833-1914) was a French engraver and ceramist who played an important role in the artistic movement of the second half of the 19th century. He was a close friend of many artists of his time, including Édouard Manet, Edgar Degas and Camille Pissarro. He was also an active member of the Impressionist circle, rubbing shoulders with Claude Monet and Pierre-Auguste Renoir. Above all an engraver, he was behind the revival of the etching technique. His reputation also rests on his discovery and appreciation of Japanese prints. In 1856, Félix Bracquemond discovered a collection of engravings by the Japanese artist Hokusai, typical of the pictorial genre known in Japan as "Kachô-ga", painting flowers and birds with figuration of insects, crustaceans and fish. He was seduced by this theme, which made him the initiator of the Japonisme craze in France at the end of the 19th century. His engraved plates were brought to the Creil-Montereau factory, where the service was produced. The service was presented for the first time at the Exposition Universelle in 1867. It was so successful that it remains emblematic of the Japonism that was developing in France at the time. The jury awarded a bronze medal to Eugène Rousseau and a gold medal to Lebeuf et Milliet. Expert: Aline Josserand - 06 10 76 48 84

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