| Title: |
Le Mets Brule, Salon de 1863 (The Burnt Meal) |
| Artist: |
Ribot, Theodule-Augustin 'Theodule Ribot' (Saint-Nicholas-d'Attez, 1823 - Colombes, France, 1891) |
| Date: |
1863 |
| Medium: |
Original Etching |
| Publisher: |
A. Cadart & Luquet, Paris |
| Printer: |
Auguste Delatre, Paris |
| Source: |
Societe des Aqua-Fortistes - Eaux-Fortes Modernes (Society of Etchers - Modern Etchings) |
| Note: |
Theodule-Augustin Ribot 'Theodule Ribot': A major nineteenth century French painter and etcher, Theodule Ribot first studied art at the Ecole des Arts et Metiers in Chalons. After his father's death in 1840 he worked as a bookkeeper in Rouen to help support his family. Theodule Ribot came to Paris in 1845 and studied in the atelier of Auguste-Barthelemy Glaize. Several years later he befriended the etcher and painter, Bonvin, who showed the work of Theodule Ribot and other realist artists, such as Fantin Latour, Legros and Whistler, in his studio. These artists were united in their opposition to classical and historical themes in French art and by their preference for depicting scenes from ordinary life. In the 1850's
such realist works of art were usually met with derision by the establishment. |
| |
Theodule-Augustin Ribot first exhibited at the Paris Salon in 1861. Two years later, however, he joined the newly created Salon des Refuses, which stood opposed to the official salon. After this point both his paintings and etchings gained a wide national reputation and Theodule Ribot was named to the Legion of Honor in 1878. |
| |
In total Theodule Ribot created slightly over thirty original etchings. Some of these are portraits and still lifes. His most famous etchings, however, are his "Scenes culinaires" portraying the life in the kitchen's of Parisian restaurants. Ribot's original etchings dealing with a culinary theme which depict chefs, cooks, kitchens, and other cooking imagery include, "La Carte" (The Menu), "L'Aide de Cuisine" (The Kitchen Helper), "Le Recette du Cuisinier" (The Cook's Recipe), "Les Eplucheurs" (The Peelers), "Le Mets Brule, Salon de 1863" (The Burnt Meal), "Le Dejeuner des Cuisiniers" (The Cooks' Lunch), "Le Dejeuner du chat" (The Cat's Lunch), and others. The beautiful "Le Mets Brule, Salon de 1863" (The Burnt Meal) is typical of his most highly regarded works of art in this field. Both the National Gallery of Australia, NGA 84.188.58, and the Fitzwilliam Museum, Accession Number P.1276-1991 include an impression of Le Mets Brule in their permanent collections. |
| |
Ribot's, "Le Mets Brule, Salon de 1863" (The Burnt Meal) hails from a set of original etchings published in Paris by A. Cadart & Luquet (1863-1866). It is listed in Maxime Lalanne's Traite de La Gravure - A L'Eau-Forte, which contains a complete catalogue listing of the works published by Cadart & Luquet up to the year 1866. This includes Theodule Ribot's set of original etchings which is listed on page five of the catalogue as ("T. Ribot - Cuisiniers, Collection de 6 Pl"). In "Les Graveurs du XIX Siecle", published in 1891, Henri Henri Beraldi includes "Le Mets Brule" as part of the set. The suite of eaux-fortes "Scene Culinaires" (Culinary Scenes), par T. Ribot contained original etchings depicting cooks and their assistants engaged in various phases of food preparation in Parisian restaurants. The New York Public Library includes a suite of Ribot's "Scenes Culinaires" in their permanent collection, OCLC Number, 839338722. These include "Les Eplucheurs", "Le Mets Brule", "La Carte"," L'Aide de Cuisine", & "Le Dejeuner des Cuisiniers". This original etching bears bears the title, "Le Mets Brule" and the printer's details "Imp. Delatre, Rue St. Jacques, 303, Paris", in the lower margin above the plate-mark as published by A. Cadart & Luquet, Paris in 1863. The scene depicts two cooks in the kitchen of a Parisian restaurant. The one standing is holding a large smoking caldron while the helper who is seated on a stool peels vegetables stares blankly at the burnt meal. |
| |
Theodule Augustin Ribot etching, "Le Mets Brule, Salon de 1863" was commissioned for an album entitled, 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 # 58. 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. The artist proof impression of this original etching was printed by delatre before the addition of letters in the lower margin. The regular edition contained the artist's name, publisher's name and address, the full title and the printer's full details with along the lower margin above the platemark. Also, the regular edition contained the official Cadart seal. |
| |
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. Theodule Ribot's original etching, "Le Mets Brule, Salon de 1863" (The Burnt Meal) is a fine, original example of the etchings published by Cadart during the 1860's decade. This particular etching depicts two cooks in the kitchen of a Parisian restaurant, the one standing is showing his helper a giant smoking crock containing the burnt meal. |
| |
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. |
| |
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. Another is "Voyage en Bateau, Croquis a L'Eau Forte" par Daubigny (1862), publie par 'A. Cadart & F. Chevalier', printed by Auguste Delatre, this one contained a set of nineteen original etchings by Charles-Francois Daubigny. Cadart's 1862 portfolio, "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). |
| |
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. Nearly all of Theodule Ribot's etchings (including this well known portrait of Alfred Cadart) were published by Cadart between 1862 and 1875. The (1862-1863) issue included two etchings by Ribot, (plate 25)"Les Eplucheurs" and (plate 58) entitled, "Le Mets Brule, Salon de 1863" (The Burnt Meal). This is a fine, original example of the etched art of Theodule-Augustin Ribot and the works commissioned for Cadart's first major French art journal, "Societe des Aqua-Fortistes - Eaux-Fortes Modernes" (Society of Etchers - Modern Etchings). |
| |
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" (The Menu), "L'Aide de Cuisine" (The Kitchen Helper), "Le Recette du Cuisinier" (The Cook's Recipe), "Les Eplucheurs" (The Peelers), "Le Mets Brule, Salon de 1863" (The Burnt Meal), "Le Dejeuner des Cuisiniers" (The Cooks' Lunch), "Le Dejeuner du chat" (The Cat's Lunch), and others. This original etching entitled, "Le Mets Brule, Salon de 1863" (The Burnt Meal) hails from Ribot's "Scenes Culinaires". 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" contained 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. |
| |
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' from 1868 to 1871, but starting with the 1872 issue, Cadart published it 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" under the name, "Vve A. Cadart" (Puis Veuve Cadart). This continued until the last issue was published in 1881). 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. |
| |
In 1874, while "L'Illustration Nouvelle" was still in publication, Cadart began another fine series of original etchings, the first being, "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 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. 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, pg. 5, T. Ribot - "Cuisiniers, Collection de 6 Pl" Prix de Chaque Epruve (2), Prix de la Collection 10). |
| Reference: |
Henri Beraldi, Les Graveurs du XIX Siecle, Paris, Librairie Conquet, 1891, Vol 11, pages, 195-196, Ribot (Theodule), Peintre, 1823-1891), Eaux-Fortes, 1863-1878, Portrait de Cadart", in-8- Scenes Culinaires: (Titre, "Les Eplucheurs", "Le Mets Brule", "La Carte"," L'Aide de Cuisine","Le Dejeuner des Cuisiniers", Publication de Cadart, Ces Sujets de Marmitons son les plus caracteristiques de L'oeuvre du Peintre). |
| Reference: |
Mr. Martin Hardie, B.A., "Board of Education, South Kensington, Catalogue of Prints", Modern Etchings of the Foreign Schools in the National Art Library, Victoria and Albert Museum, London, printed by Wyman and Sons, Limited, Peter Lane E.C., 1903, pg. 170, Scenes Culinaires. six Eaux-fortes par E. Kibot. Title-page (A Cook seated at a Table), Ref. 20707.1. |
| 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 # 58, Ribot - "Le Mets Brule (Salon de 1863)". |
| Reference: |
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 # 58). |
| Size: |
12 1/2 X 9 1/2 (Sizes in inches are approximate,
height preceding width of plate-mark or image.) |
| |
Matted with 100% Archival Materials |
| Buy Now |
Price: $295.00 US |
| Condition: |
Printed upon fine, china paper and impressed unto a large sheet of white, wove paper and bearing the title, "Le Mets Brule" and the printer's details "Imp. Delatre, Rue St. Jacques, 303, Paris", in the lower margin above the plate-mark as published by A. Cadart & Luquet, Paris in 1863. Signed by Ribot in the plate to the upper right. Containing tape staining on the extreme corners as well as marginal foxing and mat burning, else a strongly printed impression and in very good condition throughout. Le Mets Brule represents a prime, original example of the famous nineteenth century art of Theodule-Augustin Ribot. |
| Important Information: |
The artist biographies, research and or information pertaining to all the original works of art posted on our pages has been written and designed by Greg & Connie Peters exclusively for our site, (www.artoftheprint.com). Please visit us regularly to view the latest artworks offered for sale. We will soon be posting an update of our most recent research and include the biographical and historical information pertaining to our next collection of original works of art created by artists throughout the centuries. We hope you found the information you were looking for and that it has been beneficial.
Our Gallery, (Art of the Print / www.artoftheprint.com) guarantees the authenticity of every work of art we sell 100%. Full documentation and certification is provided. We offer a wide selection of international fine art dating from the early Renaissance to the contemporary art period. |
or
phone Greg & Connie (905) 957-6666