de Boissieu
korrekte Schreibweise natürlich ohne 'x' am Ende, man verzeihe mir bitte den hurtigen Tippfehler
Das Monogramm DB ligiert von de Boissieu diente Lambert von Babo; der die Kunst des Jean-Jacques de Boissieu bewunderte, als Vorlage für sein nachgeahmtes gleichlautendes ligiertes Signatur Kürzel DB
30. November 1736 - Lyon - 1. März 1810
acquaforte aguafuerte akwaforta eau-forte etching ets radierung
AUTOPORTRAIT
à la Palette...
de Boissieu faisant le portrait du Centenaire de Lyon
monogrammed DB in the margin lower left
DB
(Lyon)
dated
1780
Eau-forte sur Chine appliqué
Monogrammé dans la marge DB et daté 1780
(Une des Exemplaires du Tirage de XIX)
Etching on applicated china
Monogrammed DB lower left in the margin and dated 1780
(One from an Edition of XIX)
Radierung auf aufgewalztem Chinapapier
Links unten am Plattenrand monogrammiert DB und datiert 1780
(Eines der Auflage von XIX Expl.)
Boissieu-Perez 36
Le Blanc 17
350x430mm Feuille
260x350mm PL
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DROUOT
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SARAH SAUVIN
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Jean-Jacques de BOISSIEU: Jean-Jacques de Boissieu. Portrait of the artist - 1796
Price: € 15 000
Etching, 290/291 x 230/233 mm (to the borderline). Boissieu-Perez 102, 1st state (of 8).
Superb and very scarce impression of the 1st state (of 8) à l’eau-forte pure (only etching) before the drypoint on the shoulder and on the portrait held by Boissieu and before the roulette.
Impression printed on laid paper, trimmed inside the platemark; small margins of the copperplate (c. 16 mm all around the subject). Sheet: 322 x 266 mm. A few light foxmarks and a light mat stain in the margins of the copperplate. Two slight rubbing on the shoulder. In very good condition.
Three collection marks verso: É.-L. Galichon (Lugt 1058), F. Kalle (Lugt 1021) and D.B. (Lugt 4278).
Provenance:
- Collection Émile-Louis Galichon (1829 - 1875) (Lugt 1058). Two impressions of Boissieu’s self-portrait were sold at his collection sale (Drouot, 23-26 February 1864): one à l’eau-forte pure, one before the portrait of Boissieu's wife was changed to a landscape. The impression à l’eau-forte pure (no. 57 of the sale) was described as follows: ‘Portrait de J-J. de Boissieu, tenant un dessin où est le portrait de sa femme (R.1). Superbe épreuve d’eau-forte pure. Extrêmement rare.’ [Portrait of J-J. de Boissieu, holding a drawing with his wife’s portrait (R. 1). Superb impression à l’eau-forte pure. Extremely rare.] The buyer’s name, Amsler, is written in pencil in the margins of the copy of the sale catalogue in the collection of the Bibliothèque nationale de France. Amsler & Ruthard was a gallery selling and publishing prints in Berlin from 1860.
- Collection F. Kalle (1804 - 1875). His collection was sold in Frankfurt in November 1875 (Lugt 1021). No. 172 of the sale catalogue is L’oeuvre de Jean-Jacques de Boissieu and the first item of this lot is a ‘Portrait du maître (Rigal 1). Epreuve extrêmement rare à l’eau-forte pure’ [Portrait of the Master (Rigal 1). Extremely rare impression à l’eau-forte pure.]
- Initials D.B. printed in light violet (Lugt 4278) wasn’t identified by Lugt. They are also printed on the reverse of an impression of Passage du Garigliano by Jean-Jacques de Boissieu (Paul Prouté Gallery, Catalogue No. 100, Paris 1992, no. 291).
Impressions from the fourth state of this Portrait of the Artist are rare, but impressions from the first state are quite impossible to find. We only know of two other impressions, those mentioned by Marie-Félicie Perez: the first one is in the Edmond de Rothschild collection, in the Louvre, and the second one belongs to a branch of the Boissieu family (see catalogue p. 227). Alphonse de Boissieu, the grandson of Jean-Jacques and the anonymous author of the 1878 catalogue raisonné of the artist's prints, insists, in his foreword to the catalogue, on the rarity and particular quality of impressions 'à l'eau forte pure': “Often, after the copperplate was etched, and so as to better judge of the effect, M. de Boissieu would print a few impressions, known as eaux-fortes pures. They are few, and highly sought-after, because of their scarcity and especially because the master's skill, the precision and purity of his draughtsmanship, the assurance of his point are displayed without affectation, and finally because the copperplate, in all the vividness of the acid's bite, gives depth to the black tones of the imprints, brilliance to the light areas, and warmth to its colouring.” (Alphonse de Boissieu, foreword to the Catalogue raisonné of J.-J. de Boissieu's prints, 1878, quoted in M.-F. Perez, L’oeuvre gravé de Jean-Jacques de Boissieu, Geneva, 1994, p. 18).
The impression we present does not yet have the works in drypoint or roulette that can be noticed in later states in the background, on the shoulder of the model and on the portrait he holds in his hand (see opposite). The catalogue mentions that in this first state “the bite marks of the vices are apparent in the margins on the copperplate, in the top left corner and the bottom right corner” (Boissieu-Perez, 1994, n°102, p. 227). The margins on our impression are narrow, and so these bite marks are not visible.
Until the fourth state, J.-J. de Boissieu holds a portrait of his wife. In the fifth state, the portrait is replaced with a landscape with cows. Some have assumed this was because his wife had died, but she died in 1834, twenty-four years after him (Boissieu-Perez, 1994, p.227).
Reference: Marie-Félicie Perez: L’oeuvre gravé de Jean-Jacques de Boissieu, 1736-1810, Geneva, Cabinet des Estampes, 1994 (which reproduces and supplements the Catalogue raisonné published in 1878 by Alphonse de Boissieu).
Contact details: +33 (0)6 24 48 33 64 -
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JEAN JACQUES DE BOISSIEU
(1736–1810, Lyon)
Self-portrait. Etching, drypoint and roulette on greyish-blue paper. 29.5 x 37.5 cm. 1796. Boissieu-Perez 102 IV (of VI).
This sensitive self-portrait has long been regarded as one of de Boissieu’s outstanding prints and rightly so. It radiates self-confidence and the experience that comes with maturity. The artist has portrayed himself in half length with the upper part of his body and accurately rendered face turned towards the viewer. In his hands the elegantly clad master holds a copper plate with a portrait of his wife. Spread out on a table top are various attributes alluding to de Boissieu’s artistic activities and his classical education. Prominently positioned and highlighted by a bright beam of light is the plaster head of one of the figures from the Laocoön Group.
The portrait is distinguished not just by its subtle psychological characterisation, but also by the refinement of the technical execution. De Boissieu was an extraordinarily skilful and versatile etcher who fully exploited the expressive potential of the medium. This explains the great influence he had on later French etchers such as Charles Meryon, Félix Bracquemond and other exponents of the art, which experienced a revival in the 1860s. In the first state the self-portrait exists solely as an etching. In the two following states the artist made fine corrections with a drypoint and roulette, thus effecting delicate tonal gradations and a subtle play of light. This high degree of graphical finesse constitutes the real hallmark of de Boissieu’s art. The present fourth state is the rarest version of this remarkable self-portrait. It is printed on greyish-blue paper, which was typical of print production in Lyon around 1800. De Boissieu used this paper for his best impressions. His wife died at the time this portrait was taken. In the fifth state de Boissieu replaced her portrait with a landscape.
Jean-Jacques de Boissieu, born into a noble family from the Auvergne, lived and worked for most of his life in his native Lyon. In 1771 the artist was appointed Treasurer of France, a position which subsequently gave him financial independence. De Boissieu was a self-willed person who devoted himself consistently to his art and lived in relative seclusion. After studying under the history painter, Charles Frontier, de Boissieu spent the years from 1762 to 1764 in Paris, where he became friends with such leading artists of his time as Joseph Vernet, Johan Georg Wille and Jean-Baptiste Greuze and maintained contacts with patrons and collectors like Pierre-Jean Mariette and Claude-Henri Watelet. De Boissieu’s work never seems to have been influenced by the Rococo spirit of the age any more than it was by the later vogue for Neoclassicism. Together with his patron, Francois Alexandre Duc de la Rochefoucauld, he went on a Grand Tour of Italy in 1764/5, returning with an abundance of landscape studies that would serve him as a source of inspiration for the rest of his days.
The political upheavals of the French Revolution marked a dramatic turning point in de Boissieu’s life, depriving him of his office and his fortune. His artistic career did not suffer, however. He subsequently worked almost exclusively as a draughtsman and etcher, personally overseeing the sale of his artworks. In this respect he proved extremely successful, for his prints were in great demand among collectors and enthusiasts not only in France, but also in Germany. The large number of complete editions of his printed works bears testimony to his great popularity. A superb, contrasting and nuanced impression with thread margins around the platemark. Minimal foxing, minor ageing, otherwise in mint condition.
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