| Title: |
Les Eplucheurs (The Peelers) |
| Artist: |
Ribot, Theodule-Augustin (Saint-Nicolas-d'Attez, 1823
- Colombes, France, 1891) |
| Date: |
1863 |
| Medium: |
Original Etching |
| Publisher: |
A. Cadart & F. Chevalier, 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. |
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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. |
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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 Les Eplucheurs is typical of his most highly regarded works of art in this field. Nearly all Theodule Ribot's etchings (including his well known portrait of Cadart) were published by Cadart between 1862 and 1878. Most of Ribot's etchings (including Les Eplucheurs ( The Peelers) were printed by Delatre, the master Paris printer of etchings. The National Gallery of Victoria, Melbourne, Australia, Accession Number, 2011.518, the National Gallery of Canada (Musee des Beaux-Arts du Canada), Inventory No 23702.25, and The Cleveland Museum of Art, Inventory No. 2008.192, include an impression of Les Eplucheurs (The Peelers) in their permanent collections. |
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This original Theodule Augustin Ribot etching entitled, Les Eplucheurs (The Peelers) 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 # 25. 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 official blindstamp "A. Cadart & Luquet, Editeurs, 79. R. Richelieu", the title, "Les Eplucheurs" the publisher's name and address, "Paris, publie par A. Cadart & F. Chevalier, Editeurs, Rue Richelieu, 66", the artist's name "T. Ribot sculp", 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. Published in 1863, Theodule Ribot's original etching, "Les Eplucheurs" is a striking example of the etchings published by the Cadart firm during the early 1860's decade. The scene depicts five cook's helpers peeling vegetables in the kitchen of a Parisian restaurant. The three that are seated are peeling, while the two that are standing are only watching. |
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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. 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) and, "Le Mets Brule, Salon de 1863" (The Burnt Meal). This is a fine, original example of the etched art of Theodule-Augustin Ribot 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" (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," Les Eplucheurs" hails from Ribot's "Scenes Culinaires", and is typical of his most highly regarded works of art in this field. 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. |
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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. 11, plate # 25, Ribot - "Les Eplucheurs". |
| 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 # 25). |
| Size: |
13 X 9 1/4 (Sizes in inches are approximate,
height preceding width of plate-mark or image.) |
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Matted with 100% Archival Materials |
| Buy Now |
Price: $295.00 US |
| Condition: |
Printed upon fine, hand-made, laid paper bearing
Alfred Cadart's blindstamp in the lower center margin. as published by Alfred Cadart's Societe des Aqua-Fortistes, Paris for the "Eaux-Fortes Modernes" (Modern Etchings), in 1863. Bearing the official blindstamp "A. Cadart & Luquet, Editeurs, 79. R. Richelieu", the title, "Les Eplucheurs" the publisher's name and address, "Paris, publie par A. Cadart & F. Chevalier, Editeurs, Rue Richelieu, 66", the artist's name "T. Ribot sculp", and the printer's details "Imp. Delatre, Rue St. Jacques, 303, Paris", in the lower margin above the plate-mark. Containing tape staining on all four corners (well away from the actual etching) else a strongly printed impression and in very good condition throughout. Signed by Ribot in the plate to the upper left. Les Eplucheurs (The Peelers) represents a prime, original example of the famous nineteenth century art of Theodule-Augustin Ribot. |
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