Paul Adolphe Rajon (aka (1843–88)
(left) “Ninette”,
1886, published in the “Art Journal”, 1886
(right) from a pre-lettered edition
before publication
Etchings printed
in sanguine ink on laid paper
Size of right
impression: (sheet) 33 x 23.3 cm; (image borderline)
24.4 x 17.9 cm
Size of left
impression: (sheet) 40.1 x 28.9 cm; (image
borderline) 24.4 x 17.9 cm
The left
impression is lettered below the image borderline at centre: “NINETTE /
ORIGINAL ETCHING BY PAUL RAJON / LONDON J.S. VIRTUE & Co. LIMITED”
Condition: richly
inked and well-printed impressions in excellent condition. Note that the
impressions are subtly different in terms colour bias: the plate tone of the
left impression leans to pink and the right impression is more yellow.
The left
impression is lightly age-toned towards the edge of the paper. It is cut within
the platemark and is lined on a conservator’s support sheet.
The right
impression is printed on cream laid paper and the platemark can be seen at the
very edge of the sheet. This impression has greater tonal contrast than the
left impression.
I am selling
this pair of sublimely beautiful etchings for AU$105 (currently US$78.13/EUR72.45/GBP61.25
at the time of this listing) including postage and handling to anywhere in the
world.
If you are
interested in purchasing only one of these prints I am selling either print
(i.e. only one print but you will tell me which one you want) for AU$75 (currently
US$55.81/EUR51.75/GBP43.73 at the time of this listing) including postage and
handling to anywhere in the world
Please let me
know if you wish to purchase one or both prints by contacting me
(oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make
the payment easy.
Rajon’s fame in
the 19th century was as a reproductive translator of other artists’ paintings
into prints, especially the work of Sir Lawrence Alma-Tadema (1836–1912).
This etched
portrait is an original composition by Rajon and it demonstrates his remarkable
gift as a draughtsman. The sitter for the portrait is unclear—arguably it is the same model as shown in Jean-Baptiste Greuze’s “Ninette” translated into mezzotint by
Samuel A. Cousins. One thing I am certain about is that I do not agree with one writer at the time who dismissed her sublime beauty with the dreadful assessment
that “she is pretty enough." Although each judge of feminine charm would have their own opinion about the lovely Ninette, the portrayal of her beauty—and for me she is
incredibly beautiful—is not the issue that I find outstanding in this portrait.
For me the essence of its attractiveness is the hesitancy of the artist’s
stroke in capturing her beauty. Close examination of the line work shows
what is termed as a “painterly approach.” What this means is that Rajon is
not making unequivocal emphatic single lines to represent his subject but
rather many light touches to approximate the position of each observed feature.
In short, this
print may one day be THE IMAGE that exemplifies the 19th century vision
of beauty and its potential iconic status may rest less with who the sitter is
and much more of how she is portrayed with the lightest of touches.
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