| Title: |
Moutons en Plaine, Salon de 1863 (Sheep in the Plain) |
| Artist: |
Chaigneau, Jean Ferdinand (Bordeaux, 1830 - Barbizon, 1906) |
| Date: |
1863 |
| Medium: |
Original Etching with Plate Tone |
| Publisher: |
Cadart & F. Chevalier, Paris / A. Cadart & Luquet, Paris |
| Printer: |
Auguste Delatre, Paris |
| Source: |
Societe des Aqua-Fortistes - Eaux-Fortes Modernes (Society of Etchers - Modern Etchings) |
| Note: |
Jean-Ferdinand Chaigneau: A great French nineteenth
century painter and etcher of landscapes and animal studies, Jean-Ferdinand
Chaigneau entered the Ecole des Beaux-Arts in Paris in 1849, studying
under Picot and taking additional lessons with Coignet and Jacques Raymond
Brascassat. He first exhibited his paintings at the Paris Salon in 1848.
For the following ten years most of Jean-Ferdinand Chaigneau's art was in the academic
tradition. |
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1858 was a crucial year in the development of Jean-Ferdinand Chaigneau's
art. Led by Millet, Rousseau, Dupre, Corot, Daubigny and others the great
Barbizon school of landscape art had established itself as a strong alternative
to academic art. Chaigneau moved to Barbizon at this time and became close
friends with both Millet and Charles Jacque. Jacque, in particular, became
a strong influence on Chaigneau and introduced him to the art of etching.
Jean-Ferdinand Chaigneau created his first published etchings in 1864. |
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Like Jacque, Jean-Ferdinand Chaigneau dedicated himself to the study of animals and landscapes in both his paintings and etched works of art. His depictions of sheep, in particular, gained him the nickname of "le Raphael des moutons". Between 1868 and 1881, Jean-Ferdinand Chaigneau regularly exhibited his art in both Paris and London. This original etching entitled, "Moutons en Plaine, Salon de 1863" is a brilliant example of the art of Jean-Ferdinand Chaigneau. The National Gallery of Canada (Musee des Beaux-Arts du Canada) includes an impression of this original etching in its permanent collection, Inventory No 23702.49. |
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Moutons en Plaine, Salon de 1863: This original Jean-Ferdinand Chaigneau etching entitled, "Moutons en Plaine, Salon de 1863" (Sheep in the Plain) hails from the Societe des Aqua-Fortistes - Eaux-Fortes Modernes (Society of Etchers - Modern Etchings), Originales et Inedites - Premiere Annee - Primier Volume - (1862-1863), published by A. Cadart & Luquet, Editeurs, 79 Rue de Richelieu, 79, Paris, plate # 49. The (September, 1862 - August, 1863) issue of Eaux-Fortes Modernes contained sixty original etchings, however, #43, actually contained two original etchings by Adolphe Appian, entitled, Chemin des Roches, and a Gorge-au-Loup. Contributing artists for this issue included, Felix Bracquemond, Charles Daubigny, Alphonse Legros, Edouard Manet Theodule Ribot, Albert Brendel Jules Jacquemart, Johan Jongkind, Georges Gassies, Theophile Chauvel, Auguste Constantine, Tancrede Abraham, Armand Queyroy, Louis Emile Vernier, August von Heyden, Louis Lombart, Jean-Baptiste Corot, Maxime Lalanne, Leon Dansaert, Zacharias Noterman, Ferdinand Chaigneau, Jules Laurens, Otto-Webber, and other fine 19th century artists of the period. This original etching bears the full title, "Moutons en Plaine (Salon de 1863)" the publisher's name and address, "Paris, publie par A. Cadart & Chevalier, Editeurs, Rue Richelieu, 66, Paris", the artist's name "F. Chaigneau sculpt", and the printer's details "Imp. Delatre, Rue St. Jacques, 303, Paris", in the lower margin above the plate-mark. |
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Alfred Cadart: Within a surprisingly short period of time, the revival of etching as an original art form in Europe and America during the latter nineteenth century became viewed as a means of artistic expression equal to (and in more than several quarters, superior to) painting and sculpture. And, during that period, Alfred Cadart (1828-1875), sometimes listed as Alphonse Cadart, was France's foremost publisher of original etchings. He was most influential in re-establishing etching as a major artistic medium in France, England and America. In 1862, Alfred Cadart, along with Felix Chevalier, founded the Societe des Aqua-Fortistes (Society of Etchers), an organization, responsible for producing some of the finest French art from this era until its demise in 1867. The initial members included Felix Bracquemond, Henri Fantin- Latour, Johan Barthold Jongkind, Alphonse Legros and Theodule Ribot. Many of the fine etchings published by Cadart, particularly the earlier prints, were printed by August Delatre (1822-1907). Recognized as the most gifted printer-etcher of his era, August Delatre's influence upon the course of creative etching was significant. The artists who requested their services for their impressions reads like a 'who's who' of nineteenth century art. Corot, Chauvel, Brendel, Chaigneau, Constantin, Cottin, Whistler, Meryon, Haden, Jacquemart, Appian, Daubigny, Bracquemond, Rops, and other fine artists all pressed for their skills and advice. Both Cadart and Delatre were thus responsible for creating some of the most memorable and finest etchings of the nineteenth century. Jean-Ferdinand Chaigneau's original etching, "Moutons en Plaine" is a fine, original example of the etchings published by the Cadart firm during the early 1860's decade. It depicts a landscape scene with a shepherdess watching over her sheep grazing in the plain. |
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Through the years, Alfred Cadart's firm entered into various partnerships producing changes in the name of the firm, as well as a change of address during the publication of some of his art albums. Starting around 1859, Alfred Cadart's publications bear the "Alfred Cadart, Editeur D'Estampes, 3, Rue Saint-Fiacres". In 1861, Alfred Cadart entered into partnership with Felix Chevalier, establishing their new publishing house as, 'A. Cadart & F. Chevalier", Rue Richelieu, 66, Paris'. His next partnership began around 1862 with Jules Luquet, thus creating the firm of 'A. Cadart & Luquet, Editeurs', Rue de Richelieu, 79, Paris". In 1867, Cadart formed another partnership, this time with Mr. Luce, launching la Maison de "Cadart et Luce, Editeurs-Fondateurs, 58, Rue Neuve des Mathurins, 58". Then in 1872 he began to publish under his own name, "A. Cadart, Editeur-Fondateur, 58, Rue Neuve des Mathurins, 58". In 1874, the address changed to '56, Boulevard Haussmann, 56, Paris". After Cadart's death in 1875, his widow, Celonie-Sofie Cadart continued publishing original graphic works of art under the name, "Vve A. Cadart", (Puis Veuve Cadart), at the same address "56, Boulevard Haussmann, 56, Paris, until the demise of the firm in 1882. A selection of Paris art journals that contained original etchings published by the A. Cadart firm are listed below. |
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Some of the earliest issues published by Alfred Cadart containing original etchings include, "Specimen, Paris Qui S'en Va", and "Paris Qui S'en Va Paris et Qui Vient", (1859-1860), Publication Artistique, dessinee et Gravee par Leopold Flameng, publie par Alfred Cadart, Editeur D'Estampes, 3, Rue Saint-Fiacre. When Alfred Cadart entered into partnership with Felix Chevalier in 1861, their new publishing house ran under the name of 'A. Cadart & F. Chevalier'. It was located at Rue Richelieu, 66, Paris until its demise around 1863. During that period, their firm published other important sets, such as Charles-Francois Daubigny's album with nineteen original etchings entitled, "Voyage en Bateau, Croquis a L'Eau Forte" par Daubigny (1862), printed by Auguste Delatre, with text that read; "publie par A. Cadart & F. Chevalier". Cadart's 1862 portfolio entitled, "Huit Gravures a l'eau-forte par Manet" (Eight etchings by Edouard Mane), is also of great note, and it actually contained nine original etchings (two were printed on a single sheet). |
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From (1862-1867), Alfred Cadart along with the Societe des Aqua-Fortistes was responsible for producing some of the greatest etchings from this vital decade. The firm published its first long running series of art albums, issued from September of 1862 to August of 1867 under the title of, "Societe des Aqua-Fortistes - Eaux-Fortes Modernes". During the publication of "Eaux-Fortes Modernes" Alfred Cadart ended his partnership with Felix Chevalier and entered into a new partnership with Jules Luquet, establishing the publishing house of 'Cadart & Luquet'. The first two issues of this publication contain two title pages, the first title page bears the name & address of the firm, 'A. Cadart & F. Chevalier', and the second title page bears the name & address of the firm, 'Cadart & Luquet'. The remaining issues (only) bear the 'Cadart & Luquet' details on the title page. "Traite de La Gravure - A L'Eau-Forte", 1866 by Maxime Lalanne contains a catalogue of the lithographs and etchings published by 'Cadart & Luquet'. The first two issues of "Societe des Aqua-Fortistes - Eaux-Fortes Modernes" are included in this catalogue. The following is a listing of the, "Eaux-Fortes Moderne" art publications, the addresses and the numerical sequence for each volume published from 1862 to 1867. The (Sep, 1862 - Aug, 1863) issue lists sixty etchings (#01 to #60), and the (Sep, 1863 - Aug, 1864) issue lists sixty etchings (#61 to #120). The printed addresses that appear on both issues are (A. Cadart & Chevalier, Editeurs, 66, Rue de Richelieu, 66, Paris), and (A. Cadart & Luquet, Editeurs, 79, Rue de Richelieu, 79, Paris). As mentioned earlier, the following issues only contained one address (A. Cadart & Luquet, Editeurs, 79, Rue de Richelieu, 79, Paris). The (Sep, 1864 - Aug, 1865) lists sixty etchings (#121 to #180), the (Sep, 1865 - Aug, 1866) lists sixty etchings ( #181 to #240) and lastly, the (Sep, 1866 - Aug, 1867) issue lists sixty etchings (#241 to #300). For this series, Cadart commissioned hundreds of outstanding etchings by major 19th century French and international artists. By the time of their demise in 1867, Cadart and the Societe des Aqua-Fortistes had published hundreds of original etchings for the series, 'Eaux-Fortes Modernes', three hundred etchings, sixty etchings per issue. Most were printed on single pages, however, some pages contained multiple etchings, increasing the number to over three hundred. Published in 1863, "Moutons en Plaine" (Sheep in the Plain) stands as fine, original example of the etched art of Jean-Ferdinand Chaigneau commissioned for Cadart's first major French art journal, "Societe des Aqua-Fortistes - Eaux-Fortes Modernes" (Society of Etchers - Modern Etchings). |
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During Cadart's partnership with Jules Luquet (1863 - 1867), the publishing house of Cadart & Luquet also published individual etchings, periodicals and various art albums or series containing original graphic works of art created by an individual artist, such is the case with the series of original etchings listed as, "Scenes Culinaires" which dealt with culinary scenes in Parisian restaurants etched by the French artist, Theodule-Augustin Ribot. These include, "La Carte", "L'Aide de Cuisine", "Le Recette du Cuisinier", "Les Eplucheurs", "Le Mets Brule, Salon de 1863", "Le Dejeuner des Cuisiniers", "Le Dejeuner du chat", and others. A few examples of art albums created by an individual artist include, A. P. Martial's two albums of Parisian views with original etchings entitled, "Vieux Paris" and "Ancien Paris". Both albums contained a collection of one hundred etchings in each portfolio with views of famous homes, city views, streets scenes, and important monuments in Paris. Another art publication entitled, "La Legende de Malborough" contains a collection of twenty one etchings by Amedee de Boret illustrating the Malborough's war verses. There were many additional works published in this manner by the Cadart firm, created and etched by such distinguished artists as, Maxime Lalanne, Jules Jacquemart, de Longueville, A. Gueyroy, and others. |
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In 1868, Alfred Cadart initiated the publication of another series of original etchings, entitled, "L'Illustration Nouvelle" par Une 'Societe de Peintres-Graveurs, a L'Eau-Forte' (Society of Painters - Etchers) published under the partnership of 'Cadart et Luce' which ran from 1868 to 1871. However, starting with the 1872 issue, Cadart published the series under his own name, 'A. Cadart', until his death in 1875. After the death of Alfred Cadart, his widow, Celonie-Sofie Cadart continued to publish "L'Illustration Nouvelle" (The New Illustration), but changed the name to, "Vve A. Cadart", (Puis Veuve Cadart). This continued until the last issue was published in 1881. The address noted on the issues (1868-1872) was (58, Rue Neuve des Mathurins, 58, Paris) and from (1873-1881) the issues contained the address (56, Boulevard Haussmann, 56, Paris). Note: 'Veuve A. Cadart', or 'Vve A. Cadart' stands for Widow of A. Cadart. In total, there were 584 etchings commissioned for "L'Illustration Nouvelle". Like the previous series, entitled, "Eaux-Fortes Modernes", most of the etchings were printed on single pages, however, some pages contained multiple etchings, increasing the number of the combined issues to over six hundred etchings created by master etchers of the 19th century. |
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In 1874, while "L'Illustration Nouvelle" was still in publication, Cadart began another fine series of original etchings, the first issue was entitled, "Publications A. Cadart - L'Eau-Forte en 1874" (Publications A. Cadart - Etching in 1874), published by 'A. Cadart', 58, Rue Neuve des Mathurins, 58, Paris. The second issue, L'Eau-Forte en 1875" contained a change of address (56, Boulevard Haussmann, 56, Paris). After the death of Alfred Cadart in 1875, his widow, Celonie-Sofie Cadart also continued to publish this series, but she changed the title to "Publications Vve A. Cadart - L'Eau-Forte en 1876", Vve A. Cadart, Editeur - Imprimeur (same address, but with a change of date) until the last one entitled, "Publications Vve A. Cadart - L'Eau-Forte en 1881" was published in 1881. Every issue contained thirty original etchings with the exception of the second issue which contained forty etchings, however, some pages had more than one etching printed per page, bringing the total to over two hundred and fifty etchings published in the eight issues from 1874 to 1881. According to the British Museum of Art, the firm closed in 1882. It is believed that Celonie-Sofie Cadart could no longer afford the high cost of publishing and declared bankruptcy. After the closure of the Cadart publishing house, all of the inventory was auctioned off, ending an era of more than two decades of original creative printmaking, and the publishing of some of the finest etchings of the latter part of the nineteenth century by France's foremost publisher of original etchings, and one of the principal forces behind the French etching revival, Alfred Cadart. |
| Reference: |
Maxime Lalanne, Traite de La Gravure - A L'Eau-Forte, - Texte et Planches Par Maxime Lalanne, Paris, Cadart et Luquet, Editeurs, Gerants de la Societe des Aqua-Fortistes, 79, Rue Richelieu,79, MDCCC LXVI (1866), Catalogue des Lithographies - Gravures - Eaux-Fortes Publiees par la Maison Cadart & Luquet, "Eaux-Fortes Modernes" Publication Artistique d'Oeuvres Originales par La Societe Des Aqua-Fortistes, 1re Annee, (1862-1863), Frontispice et Introduction, pg. 12, plate # 49, Chaigneau - "Moutons en Plaine (Salon de 1863)". |
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A. Cadart & Luquet, "Societe des Aqua-Fortistes - Eaux-Fortes Modernes" (Society of Etchers - Modern Etchings), Premiere Annee - Primier Volume - (1862-1863), 79 Rue de Richelieu, 79, Paris, (plate # 49). |
| Raisonne: |
Henri Beraldi, Les Graveurs du XIX Siecle, Librairie
L. Conquet, Paris, 1886, Vol. 4, pp. 74-75. Catalogue # 1, First and Only State as published by Cadart
in 1863. |
| Size: |
9 1/2 X 13 (Sizes in inches are approximate,
height preceding width of plate-mark or image.) |
| |
Matted with 100% Archival Materials |
| Condition: |
Printed on nineteenth century wove paper and with full margins as published for Alfred Cadart's Paris art journal of original etchings, "Societe des Aqua-Fortistes - Eaux-Fortes Modernes" (Society of Etchers - Modern Etchings), in 1863. Signed and dated in the plate by Chaigneau and bearing the full title, "Moutons en Plaine (Salon de 1863)" the publisher's name and address, "Paris, publie par A. Cadart & Chevalier, Editeurs, Rue Richelieu, 66, Paris, Paris", the artist's name "F. Chaigneau sculpt", and the printer's details "Imp. Delatre, Rue St. Jacques, 303, Paris", in the lower margin above the plate-mark. A splendid, Delatre printing with full plate-tone and in excellent condition throughout. "Moutons en Plaine, Salon de 1863" (Sheep in the Plain) represents a prime, original example of the nineteenth century French art of Jean-Ferdinand Chaigneau. |
| Subject: |
Jean-Ferdinand Chaigneau, Moutons en Plaine , Original
Etching, Sheep in the Plain, Auguste Delatre, Cadart, 'le Raphael
des moutons'. |
| Price: |
Sold - The price is no longer available. |
| Important Information: |
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