| Title: |
Le Repos, 'Fanueses au Repos' (Rest, 'Haymakers Resting') |
| Artist: |
Roybet, Ferdinand (Uzes, 1840 - Paris, 1920) |
| Date: |
1866 |
| 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) |
| Edition: |
"Le Repose" (Rest) is an early Proof impression before the addition of the title along the lower margin. |
| Note: |
Ferdinand Roybet: One of France's greatest portrait
and genre painters of the latter nineteenth century, Ferdinand Roybet
first made his mark in the art world as an exceptional etcher. Studying
first at the Ecole de Gravure de Lyon, Ferdinand Roybet moved to Paris in 1863 to
complete his studies under Vibert. His first etchings were commissioned
during this year by the Societe des Aqua-Fortistes, and altogether
he contributed twelve works of art to Cadart's publishing house. Ferdinand Roybet's
first paintings were exhibited at the Paris Salon in 1866. A full member
of the Artistes Francais, Ferdinand Roybet received his nation's highest honour
in 1893 when he was appointed Chevalier de la Legion d'honneur. |
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As an original etcher, Ferdinand Roybet was a penetrating observer of life. Some of his etchings, such as this original example, entitled, "Le Repos" (Rest) portray scenes of gypsies and itinerant travelers. These great works of art have been favourably compared to some of the 17th century etchings of Jacques Callot. This particular etching is also listed as "Fanueses au Repos" (Haymakers Resting). Both the National Gallery of Australia, Accession No. NGA 84.188.214, and the National Gallery of Canada (Musee des Beaux-Arts du Canada), Inventory No 23702.214, also include an impression of this original etching in their permanent collections. |
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Le Repos, 'Fanueses au Repos': This original Ferdinand Roybet etching entitled, "Le Repos" (rest) hails from the Societe des Aqua-Fortistes - Eaux-Fortes Modernes (Society of Etchers - Modern Etchings), Oeuvres Inedites et Originales - Quatrieme Annee - Quatrieme Volume - (1865-1866), published by A. Cadart & Luquet, Editeurs, 79 Rue de Richelieu, 79, Paris, plate # 214. The (September, 1865 - August, 1866) issue of Eaux-Fortes Modernes contained sixty eight original etchings. There were five original etchings listed for each month, however the following pages contained two to three original etchings per page, #183 W. Ridley, #184 Alfred-Louis Brunet-Debaines, #188 Luis Jimenez, #205 Adolphe Appian, #210 Delprat, #213 Pierre-Emile Berthelemy, #215 Lanson, and #237 Baron. Contributing artists for this issue include, Eugene Smits, Herman Cossmann, Jules Laurens, Alfred Mery, Ferdinand Roybet, George Snell, Alexandre Sege, Bronislaw Zalenski, Amadee de Boret, Gilberto Borromeo, Alphonse Aufray, David Sutter, Alfred Taiee, and other fine 19th century artists of the period. "Le Repos" is and early Proof Impression (before the addition of the title along the lower margin) commissioned for the Societe des Aqua-Fortistes - Eaux-Fortes Modernes. |
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Before publishing his etchings Cadart generally printed a small number of proof impressions. These initial impressions were printed on large sheets of special, laid paper containing the 'Aqua-Fortistes' watermark and before the addition of the title and the artist, printer and publisher names along the lower margin. Such is the case with this original etching entitled "Le Repos". |
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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. Ferdinand Roybet's original etching, "Le Repos" (Rest) is a fine, original example of the etchings published by Cadart during the latter half of the 1860's decade. This particular etching depicts a landscape scene with a group of people (haymakers) resting in the shade of the haystacks. |
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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, P aris). 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 the last issue, (Sep, 1866 - Aug, 1867), 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 1866, "Le Repos" (Rest)stands as fine, original example of the etched art of Ferdinand Roybet 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" 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: |
Henri Beraldi, Les Graveurs du XIX Siecle, Librairie
L. Conquet, Paris, 1891, Vol. 2, p. 274. Catalogue # 5, First and Only State as published by Cadart
in 1865. (An earlier impression is listed as "Le Faneuses") |
| Reference: |
A. Cadart & Luquet, "Societe des Aqua-Fortistes - Eaux-Fortes Modernes" (Society of Etchers - Modern Etchings), Quatrieme Annee - Quatrieme Volume - (1865-1866), 79 Rue de Richelieu, 79, Paris, (plate # 214). |
| Size: |
9 1/4 X 12 5/8 (Sizes in inches are approximate,
height preceding width of plate-mark or image.) |
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Matted with 100% Archival Materials |
| Condition: |
Printed upon 'Aqua-Fortistes' watermarked hand-made paper and with full, large 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), by A. Cadart & Luquet in 1866. This is an early Proof impression before the addition of the title along the lower margin. Signed in the plate by the artist. A brilliant, tonal printing and in superb condition throughout. This original etching, entitled, "Le Repos", 'Fanueses au Repos' (Rest,'Haymakers Resting') represents a beautiful example of the influential art of Ferdinand Roybet. |
| Price: |
Sold - The price is no longer available. |
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