Jean-François Millet
(1814–75)
“Les Bêcheurs” [The Diggers], c.1855–6, printed by Auguste
Delâtre (1822–1907).
Etching and aquatint in brown-black ink on fine
buff-coloured tissue-thin laid paper attached to a support sheet.
Size: (mount) 39.5 X 49.5 cm, (plate) 23.5 X 33.6 cm,
(image) 22.5 X 32 cm. (Note that the print is sealed within its mount and so I
cannot verify the size of the sheet, but the previous owner advises that it is
33 X 43.2 cm.)
Inscribed (lower right) "Paris Imp. par Aug. Delâtre
Rue St Jacque 171"
State iv (of iv)
Delteil 13.IV
Condition: crisp, well-printed impression. Although the
print is currently sealed within its mount and so I cannot verify the following
information, the previous owner advises that a conservator has deacidfied the
tissue thin sheet of the print but left it attached to its support sheet. I am also
advised that the print is attached to a new backing mat with three pieces of
mounting tape.
I am selling this original, extremely rare and historically
important icon of 19th century French printmaking for AU$2018 (currently
US$1466.70/EUR1297.05/GBP1021.45 at the time of posting this print) including
postage and handling to anywhere in the world.
If you are interested in purchasing this major print at an
exceptionally low price, please contact me (oz_jim@printsandprinciples.com) and
I will send you a PayPal invoice to make the payment easy.
This print has been sold
This etching, "The Diggers", and "The
Gleaners" are Millet's most famous prints and arguably two of the iconic
images from the 19th century. Rather than offer an explanation for their
fame—there is already so much written about their historical importance—I've
decided to give a few insights into the history behind the printing of the
plates.
Millet's motivation to create this print (and the four
preceding it including "The Gleaners") was driven by his close friend
and biographer of the Barbizon painters, Alfred Sensier. Sensier proposed to
Millet that there was a lucrative market to be found if the artist were to
create formally resolved etchings. Moreover, the likely sales of
well-considered and finished prints would help to establish Millet's
reputation. Prompted by Sensier's advice, Millet commenced work on a small
group of five prints intended to satisfy the market during the winter of
1855-56.
The publisher for these carefully considered prints was
Auguste Delâtre—the major printer/publisher in Paris at the time. Sensier,
however, had misgivings about him and he withheld giving Delâtre Millet’s
etched plates until the scheduled time for printing so that he could keep an
eye on the number of impressions pulled from the plates. This withholding of
the plates was a painful affair and in Sensier’s letter (dated Feb. 8, 1858) to
Millet, Sensier explained that he had run out of excuses why he hadn't
entrusted the plates to Delâtre and lamented that he will "more or less
have to put my trust in God ... [having] exhausted all the ways of holding onto
them". Sensier's mistrust of Delâtre was not completely unfounded as
Delâtre requested additional proofs for his clients. Interestingly, Millet
relented to Delâtre’s request and advised Sensier: "I would have it on my
conscience if I hindered the good fortune of Delâtre, if all that is needed to
help him ... is the few proofs on old paper he spoke with you about. Let him
take them and do with them as he wants."
Beyond the edition printed
by Delâtre (who printed this impression) the plates were also editioned by two
other printers. The most famous of these was the legendary, Charles Meryon in
1860. When Meryon—who I value as one of the most important printmakers of 19th
century—was entrusted to the role of printing Millet’s plates, Sensier
described Meyron as “a man who is serious and honest to the very highest degree
and who prints his proofs very well.” More fascinating for me, Sensier also
wrote to Millet about Meyron as “someone with his head forever in the clouds
(un verre fumeux), a fakir who lives on tea and currants, who will require
nothing more than a smile from your Excellency and a proof of your ‘Diggers’
with these words from your hand: ‘Millet to Meryon.’” (Michel Melot [1978]
“Graphic Art of the Pre-Impressionists”, Harry N Abrams, New York, p. 289)
