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Félix BracquemondFrontispice de la Société des Aquafortistes-Lithograph by Félix Bracquem-1864 ca1864 ca
1864 ca
$452.13
£336.40
€380
CA$626.26
A$671.03
CHF 359.96
MX$7,948.47
NOK 4,540.72
SEK 4,154.05
DKK 2,895.42
About the Item
Etching on laid paper
Signed and dated in plate lower left: F. Bracquemond 1864.
Published by Cadart
Luquet, Éditeurs, 79 Rue Richelieu, Paris
With the blindstamp of the Société des Aquafortistes, lower margin.
This etching, serving as the frontispiece for the third year (third volume) of the Société des Aquafortistes publication, stands among Félix Bracquemond’s most emblematic works celebrating the rebirth of original etching in 19th-century France.
Depicted within a richly ornamented classical pavilion, a seated nude allegorical figure holds a mirror, embodying Art or Etching itself — serene, self-aware, and radiant in her composure. At her sides rest a dog and a sculpted lion, symbols of fidelity and strength, while architectural motifs and lush vegetation frame the composition with Renaissance-inspired elegance. Above, a banner inscribed “Société des Aquafortistes” unfurls between two Corinthian columns, affirming the collective’s artistic mission.
Bracquemond’s execution is masterful — the fine hatchings and controlled linework reveal his command of tonal modulation and texture. The piece reflects both his technical virtuosity and his intellectual role as a leader of the French etching revival. By combining allegorical content with decorative precision, Bracquemond here defines etching as a noble, autonomous art form — one worthy of revival and scholarly esteem.
Fine and rich impression on laid paper, full margins. Minimal surface tone and scattered foxing consistent with age.
A central figure in 19th-century printmaking, Félix Bracquemond was a founding member of the Société des Aquafortistes, established in 1862 by Alfred Cadart and Auguste Delâtre to promote the art of original etching. This Frontispice functioned as both a symbolic and aesthetic manifesto for the Society — an artistic declaration of independence from reproductive engraving. Its combination of classical iconography and modern technique illustrates Bracquemond’s deep influence on the artistic and theoretical direction of etching in France.
- Creator:Félix Bracquemond (1883 - 1914, French)
- Creation Year:1864 ca
- Dimensions:Height: 14.18 in (36 cm)Width: 21.66 in (55 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: T-1581491stDibs: LU650317321322
Félix Bracquemond
Fe´lix Bracquemond was born in Paris. He was trained in early youth as a trade lithographer, until Guichard, a pupil of Ingres, took him to his studio. His portrait of his grandmother, painted by him at the age of nineteen, attracted The´ophile Gautier's attention at the Salon. He applied himself to engraving and etching about 1853, and played a leading and brilliant part in the revival of the etcher's art in France. Altogether he produced over eight hundred plates, comprising portraits, landscapes, scenes of contemporary life, and bird-studies, besides numerous interpretations of other artist's paintings, especially those of Jean-Louis-Ernest Meissonier, Gustave Moreau and Jean-Baptiste-Camille Corot. After having been attached to the Se`vres porcelain factory in 1870, he accepted a post as art manager of the Paris atelier of the firm of Haviland of Limoges. He was connected by a link of firm friendship with E´douard Manet, James McNeill Whistler, and all the other fighters in the impressionist cause, and received all the honors that await the successful artist in France, including the grade of Officer of the Legion of Honor in 1889. Bracquemond was a prominent figure in artistic and literary circles in the second half of the 19th century. He was close to writers such as Edmond de Goncourt and critic Gustave Geffroy, and numbered among his friends Millet and Corot, Henri Fantin-Latour, Degas and the Impressionist circle, and Auguste Rodin. He was one of the more prolific printmakers of his time and he was awarded the grande medaille d'honneur at the Universal Exhibition of 1900. He was also a painter, ceramist, and an innovator in decorative arts. Gabriel Weisberg called him the "molder of artistic taste in his time". Indeed, it was he who recognised the beauty of the Hokusai woodcuts used as packing around a shipment of Japanese china, a discovery which helped change the look of late 19th-century art. He married French Impressionist artist Marie Bracquemond in 1869. He died in Se`vres.
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