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DECOUPAGE - FURNITURE DECORATION [WATTEAU, Antoine]ABAA

Paravent de six feuilles

1740ref. 2420Augsburg: Johann Jacob Haid & son 1740. Six tall narrow folio-sized engravings with etching platemarks 400 x 207 mm. sheets 435 x 277 mm. deckle edges unsigned but by Jacop Wangner after Watteau numbered 1-6 in the plate at lower right imprint at lower right I. Haid et filius excudit A. V. Augustae Vindelicorum. Upper edges archivally tipped to mats. Fine. A perfectly preserved suite of six large rococo engravings reproducing Watteau's paintings for a folding screen intended to be cut out by ladies for use in furniture decoration. Watteau's influence on 18th-century decorative arts throughout Europe by way of the many engravings after his work published by Gersaint has long been recognized but the use of the engravings as actual sheets to be cut up and applied to household objects has garnered little attention until recently. The vogue for decoupage probably first appeared in the late seventeenth century and by the 1720s the hobby of cutting out colored prints for application to various household objects and pieces of furniture was all the rage in France Germany and beyond. The process which remained a favorite pastime throughout the eighteenth century was known as la découpure in French as Ausschneidekunst in German and as lacca contrafatta or lacca povera in Italian although "the latter term appears to be a true misnomer considering the amount of minute work involved" Kisluk-Grosheide p. 83. It consisted of neatly cutting out hand-colored engraved or woodcut motifs or figures applying them to a textile or sometimes cardboard ground and varnishing them. These creations were applied to furniture as well as to "screens folding screens wall hangings ceilings the tops of coaches and sedan chairs" loc. cit. affording a passable imitation of Asian lacquer. The craze which created a goldmine for certain print publishers reached the point that bibliophiles and collectors were warned to keep a vigilant eye on their most precious books prints and paintings lest eager young ladies attack them with scissors. In 1728 six engravings after Watteau's paintings for a folding screen were commissioned by the art collector Jean de Julienne as part of a vast program of reproductions of Watteau's painted oeuvre. They were engraved by Louis Crépy fils and published by the Paris marchand-mercier art dealer and print publisher Edmé-François Gersaint. An announcement of their upcoming publication in the November 1727 Mercure de France explicitly described them and two other Crépy-Watteau engravings as "marvelously appropriate for decoupages with which ladies these days make such pretty furniture" Crépy grave actuellement six morceaux en hauteur . d'après un Paravant peint par Watau dont les compositions sont très-galantes. De pareils sujets peints sur des fonds blancs conviennent à merveille aux découpures dont les Dames font aujourd'hui de si jolis meubles Mercure de France 1 Novembre 1727 p. 2492 digitized on Gallica. Indeed the publisher himself highlighted this usage in his own note in a later issue of the Mercure cited by Glorieux p. 212: pointing out that all of the decorative motifs in the Watteau engravings were "most useful for painters fan-makers sculptors goldsmiths tapestry-weavers embroiderers etc." he added that "all these ornaments can be perfectly used in decoupage" tous ces ornements réussissent parfaitement en découpure. These and other rococo engravings were quickly taken up by German publishers especially in Augsburg Metken p. 102. This paravent folding screen suite was one of the first of the Watteau engravings to be copied in Germany. The present very close reverse copies of Crépy's six plates appeared in Augsburg only a few months after their publication in June 1728 in Paris: engraved by Jacob Wangner or Wagner ca. 1703-1781 they were published by the heirs of Jeremias Wolff in 1729. This set is an otherwise unrecorded reissue of the Wangner copperplates. A lavishly decoupage-decorated secretary in the collections of the Metropolitan Museum of Art includes cutouts that were almost certainly from these Augsburg plates as they are from "reverse copies of the prints by Crépy" Kisluk-Grosheide p. 88 noting other examples of Augsburg copies of Watteau prints used on the same secretary. Her assertion that "it has not been shown that these engravings were actually used for this purpose" p. 84 is only applicable to the French plates. Indeed other examples of lacca povera objects described in her article point to the German production of copies of French rococo prints as the main source for decoupage at this time on pieces produced throughout Europe including in Italy and in France itself. The general title appears at the foot of the first plate. Each engraving presents a central figure or scene set within a frame of delicate rococo arabesques and ornaments. Three show the Comédie italienne figures of Pierrot Harlequin and Colombine a woman playing the lute on a rug-bedecked stage a pair of allegorical figures flanking an awning above and at bottom the smiling visage of a Commedia dell'Arte character of the opposite sex. The remaining pastoral scenes of courtship or douceur de vie are set within naturalistic elements two with streams flowing over a dripping shell-shaped basin or ledge under which a ghostly face can be dimly discerned. Watteau's designs were based on earlier designs by Claude III Audran decorative painter for Louis XIV at Versailles and Fontainebleau to whom Watteau had apprenticed. "After joining forces with ornamentalist Claude III Audran about 1708 he Watteau began inserting figures in Comédie-Italienne costumes into Audran's trademark arabesques" Judy Sund "Watteau's Pierrots Why so Sad" The Art Bulletin vol. 98 no. 3 2016 p. 325 reproducing the Pierrot panel from the present series. OCLC locates a single copy of the Wolff issue at the Bibliothèque nationale de France reproduced in Gallica. In the present issue of which I locate no other copies the engraver's signatures were removed. On the Wolff issue cf. W. Augustyn "Augsburger Buchillustration im 18. Jahrhundert" in Augsburger Buchdruck und Verlagswesen von den Anfangen bis zur Gegegenwart 1997 p. 820 citing E. Isphording Gottfried Bernhard Göz 1708-1774 1997 pp. 35 ff.; Thieme Becker 35:150. On the Crépy engravings cf. Guilmard Maitres ornemanistes p.145; Dacier & Vauflart Jean de Julienne et les graveurs de Watteau au XVIII. siècle 159-163; E. de Goncourt Catalogue Raisonné de l'Oeuvre . d'Antoine Watteau 1875 p. 224 nos. 309-314; G. Glorieux À l'enseigne de Gersaint: Edme-François Gersaint marchand d'art sur le Pont Notre Dame Paris 2002 pp. 189-192; Mark Millard Collection: French Books no. 170.35 5 of the 6 plates. On the use of these engravings for decoupage see: D. O. Kisluk-Grosheide "'Cutting up Berchems Watteaus and Audrans': A Lacca Povera Secretary at The Metropolitan Museum of Art" Metropolitan Museum Journal 31 1996 pp. 81-97; and S. Metken Geschnittenes Papier Munich 1978 pp. 101-2 & 113. Johann Jacob Haid & son unknown books

Musinsky Rare Books, Inc. · Estados Unidos8000,00 US$≈ 7147,33 €

Bonfils, Wiifred Black; Mr And Mrs Fremont Older, With Assistance Of Edward F O'day; Frontispiece Portrait, Tite Page DecorationBiblio.com

The Life Of George Hearst: California Pioneer 1933 ; The Life And Personality Of Phoebe Apperson Hearst 1928 Two Volumes In Slipcase

1933ref. 054125John Henry Nash 1928 1933 1933. 1st Edition . Hardcover. Fine. 238 155 Pp. Matching Full Vellum 5 Bands Very Thick Boards Top Edge Gilt Gilt Rules Very Heavy Paper Each #25 Of 1000 Copies. George Hearst Book With Compliments Slip From William Randolph Hearst; Phoebe Apperson Hearst Slip With Errata Slip. Both In Custom Slipcase With Two Compartments. Very Near Fine No Marks No Warping To Covers. Per Wikipedia George Hearst September 3 1820 - February 28 1891 Was An American Businessman Miner And Politician. After Growing Up On A Small Farm In Missouri He Founded Many Mining Operations And Is Particularly Known For Developing And Expanding The Homestake Mine In The Late 1870S In The Black Hills Of South Dakota. In 1879 He Listed It On The New York Stock Exchange And Went On To Other Pursuits. The Mine Operated Continuously Producing Gold Until 2001. His Company Grew To Be The Largest Private Mining Firm In The United States And Had Huge Investments In Mexico And Peru Mines. Hearst Acquired The Reputation Of Being The Most Expert Prospector And Judge Of Mining Property On The Pacific Coast. He Contributed To The Development Of The Modern Processes Of Quartz And OtherVague Kinds Of Mining. George Hearst Acquired The San Francisco Examiner Newspaper As A Sign Of Loyalty To His Friends By Accepting It As Payment For A Gambling Debt Owed To Him. He Primarily Used The Examiner To Promote The Interests Of The Democratic Party And To Laud The Party's Initiatives Especially When They Were Under Public Attack. After Settling In San Francisco In The Early 1860S Hearst Became A Politician First Representing San Francisco In The State Legislature For One Term. He Also Maintained Mining Interests Through His Company. Hearst Was Appointed As A United States Senator In 1886 To Fill A Vacancy And Was Elected As A Democrat Later That Year On His Own Account. He Served In The Senate From 1887 To His Death In 1891. His Only Child From His Late Marriage At Age 40 Was His Son William Randolph Hearst Who Became Internationally Known As A Newspaperman And Publisher And Was A Primary Inspiration For Orson Welles' 1941 Film Citizen Kane. As Quoted In The Book On His Vote In The Senate "If People Can't Afford To Buy Butter Let Them Buy Oleomargarine". His Lifelong Focus On The Physical Basis Of Money Silver And Gold Rather Than The Manufacture Of Useful Items And His Lifelong Concern With Politicking Made Him One Of The Most Successful Admired And Richest Americans And Financed The Career Of His Son William Randolph Hearst Producer Of The Worthless Imperialist And Sometimes Successfully War-Mongering New York Journalism Of His Son Who Is Also Not Known To Have Ever Produced Anything Original And Of Value. John Henry Nash 1928, 1933 hardcover

Arroyo Seco Books · Estados Unidos1278,90 US$≈ 1142,59 €

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