Théodule Ribot, “Portrait of Alfred Cadart”, 1864

Théodule Ribot (also known as Augustin Théodule Ribot) (1823–1891)
“Portrait of Alfred Cadart” (or “M. A. Cadart, Fondateur de la Société des Aqua-Fortistes”), 1864

Alfred Cadart (1828–1875) was a renowned printmaker and publisher. Alongside Auguste Delâtre (also known as Auguste Marie Delâtre) (1822–1907), Cadart co-founded the Société des Aqua-Fortistes (Society of Etchers) in 1861, with the aim of revitalising interest in the art of etching, which was then experiencing a period of decline. He also launched the influential art journal “L'Illustration Nouvelle” in 1868.

Technical Details & Condition:

Etching with plate tone on fine laid paper with generously wide margins. It is plate 99, printed by Auguste Delâtre and published by Cadart & Luquet (fl. 1863–1867) in Paris for the Société des Aqua-Fortistes, in the publication “Eaux-Fortes Modernes” (1863–1864), volume 2. The impression is richly inked and well-printed (near faultless). The sheet is in pristine condition—free from tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 45.9 x 32.9 cm
• Platemark: 30.7 x 23.8 cm
• Image borderline: 8.7 x 11 cm

Plate Lettering:

• Above the image borderline (right): “99.”
• Within the image borderline (lower left): “t Ribot”
• Below the image borderline (left): “Ribot sculp.”
• Below the image borderline: (centre) “M. A. CADART, / Fondateur de la Société des Aqua-Fortistes. / Paris, Publié par CADART & LUQUET, Editeurs, 79, Rue Richelieu.”
• Below the image borderline: (right) “Imp. Delâtre, Rue St, Jacques, 303, Paris.”

References:

• Gallica [BNF] offers an online view of this print within its publication context: https://gallica.bnf.fr/ark:/12148/btv1b8470013m/f48.item
• The British Museum provides a description of this print prior to lettering: https://www.britishmuseum.org/collection/object/P_1872-0113-513

Price & Shipping:

AU$232 (approximately US$155.34 / €143.93 / £115.41), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you wish to acquire a strikingly powerful etched portrait, where the crossed arrangement of vertical and horizontal lines alludes to the artist’s analytical mindset during the “finding” of his subject amidst the dramatic chiaroscuro lighting, please contact me at oz_jim@printsandprinciples.com. I will be happy to send a PayPal invoice for a seamless purchase.

This print has been sold

Louis Monziès, “Saint Sébastien, Martyr”, 1879, after Théodule Ribot

Louis Monziès (1849–1930)

“Saint Sébastien, Martyr” (aka “Le Martyre de Saint Sébastien” [as titled when this print was exhibited in the Paris Salon of 1879, inv. no. 5764]), 1879, after the painting, “St Sebastian”, by Théodule Ribot’s (aka Augustin Théodule Ribot) (1823–1891) in the collection of the Musée d'Orsay, (RF 105), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “L’Art”, 1879 (vol. XVI), facing page 326.

Etching on laid paper (partial Arches watermark) with full margins as published.

Size: (sheet) 30.1 x 43 cm; (plate) 23.7 x 30.9 cm; (image borderline) 20.3 x 27.2 cm.

Lettered in plate below the image borderline: (left) “Th. Robot, pinx./ L’Art.”; (centre) “SAINT SÉBASTIEN, MARTYR.”; (right) “L.Monziès sculp./ Imp. A. Salmon.”

Beraldi 13 (Henri Béraldi 1890, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. X, Paris, Librairie L. Conquet, p. 114, cat. no. 13).

See also the description of this print offered by the British Museum (inv. no. 1880,0214.137)—Sadly the BM is blocking my URL links to prints, but the museum number should give access to this specific print

Condition: a richly inked and faultless impression in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this simply magnificent etching (grim as the portrayed subject may be) showing St Irene and another woman (possibly her maid?) attending to the wounds of St Sebastian, for the total cost of AU$249 (currently US$168.14/EUR153.68/GBP128.70 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$249) as this is my currency.

If you are interested in purchasing this startlingly strong image of St Sebastian—to my eyes the image is so drenched in drama and gravitas that I can now fully understand the subheading, “A delicious darkness” (“Une délicieuse obscurité”), given to the 2021 exhibition at the Musée des Augustins in Toulouse focused on the work of Théodule Ribot (whose painting this etching translates)—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

Théodule Ribot’s etching and drypoint with aquatint, “Still Life with Dead Chicken”, 1878

Théodule Ribot (Théodule Augustin Ribot) (1823–1891)

“Still Life with Dead Chicken” (aka “Stilleven met dode kip”; “Nature morte” [published title]), 1878, artist’s proof (number 3) signed in ink by the artist with dedication to the French art critic and writer with whom Ribot collaborated (see Beraldi, vol. XI, p. 196), Louis de Fourcaud (aka Louis Jean Olivier Marie de Boussès de Fourcaud) 1851–1914), before lettering with title and publication details for Veuve Cadart (fl.1875–1882) (aka Alfred Cadart [1828–1875]) in Paris.

Etching with drypoint and aquatint on laid paper with wide margins and inscribed in ink by the artist: “3^ème épreuve à mon ami De Fourcaud Th. Ribot” (3rd test to my friend De Fourcaud Th. Ribot).

Size: (sheet) 24.7 x 34.9 cm; (plate) 19.6 x 27.5 cm; (image borderline) 13.3 x 22.4 cm.

Inscribed in plate within the image borderline: (lower right corner) “t. Ribot”.

State i (of ii?) before lettering with title and publication details

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.229864.   

See also the insights about Ribot offered by Henri Béraldi (1891), “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. XI, Paris, Librairie L. Conquet, pp. 195–96.

Condition: a richly inked and near faultless impression with generously wide margins. Beyond faint spots of foxing, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very strong hand-inscribed in ink artist’s proof (before lettering) showing a plucked and extended chicken prepared for cooking, for AU$356 (currently US$230.18/EUR238.07/GBP213.15 at the time of posting this print) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this graphically powerful etching executed with great confidence and economy of line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed another etching by Ribot that is (surprisingly) still available: “Paysanne de l'Ukraine”, 1886 (see https://www.printsandprinciples.com/2022/06/theodule-ribots-etching-paysanne-de.html). 

This print has been sold

Théodule Ribot’s etching, “Paysanne de l'Ukraine”, 1886

Théodule Ribot (Théodule Augustin Ribot) (1823–1891)

“Paysanne de l'Ukraine” (aka “Peasant woman from Ukraine”; “Study of a woman from Ukraine”), 1876, plate number 329, published and printed by Veuve Cadart (fl.1875–1882) (aka Alfred Cadart [1828–1875]) in Paris

Etching on fine laid paper with wide margins.

Size: (sheet) 34.8 x 29.6 cm; (plate [soft]) 17.4 x 15.5 cm; (image borderline) 13.5 x 10.8 cm.

Numbered in plate above the image borderline: (right) “329.”

Lettered in plate below the image borderline: (left) “T.Ribot, pinx et sculp.”: (centre) “PAYSANNE DE L'UKRAINE.”; (right) “V^ve A. Cadart,Edit.Imp. 56,B^ard Haussmann,Paris.”

Beraldi (etching named but not catalogued with a number) (Henri Béraldi 1891, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. XI, Paris, Librairie L. Conquet, pp. 195–96).

The Rijksmusuem and BnF Gallica (Bibliothèque nationale de France) offer descriptions of this print: http://hdl.handle.net/10934/RM0001.COLLECT.229855; https://catalogue.bnf.fr/ark:/12148/cb442774803.  

Condition: a richly inked and near faultless impression with generously wide margins in near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this very strong and Rembrandtesque etching in museum quality/near faultless condition, for AU$234 (currently US$162.66/EUR155.94/GBP133.56 at the time of posting this print) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this small but graphically powerful etching executed with great confidence and economy of line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.