Faenza, IT
Details
- Dimensions
- 11.81ʺW × 15.75ʺH
- Art Subjects
- Figure
- Period
- Late 19th Century
- Country of Origin
- France
- Item Type
- Vintage, Antique or Pre-owned
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- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Condition Notes
- Excellent — This vintage piece is in near original condition. It may show minimal traces of use and/or have slight … moreExcellent — This vintage piece is in near original condition. It may show minimal traces of use and/or have slight restorations. less
- Description
-
Jules-Gustave Besson (Paris 1868 - Saigon 1942)
Au Pays Noir (In the Black Country)
Original Lithograph from the glorious portfolio … more Jules-Gustave Besson (Paris 1868 - Saigon 1942)
Au Pays Noir (In the Black Country)
Original Lithograph from the glorious portfolio "L'Estampe Moderne", issue #14 (June 1898)
On wove paper
Year: 1898
Size (sheet): 405 x 305 mm
Size (image): 320 x 245 mm
Monogrammed on the plate "JGB", bottom right
Blind stamp of the publisher, bottom right, out of the image
Excellent condition: minor signs of age and handling
Great colours
Full margins (not cropped, not trimmed)
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About the Collection (L'Estampe Moderne)
L'Estampe Moderne appeared in 1897-1899 as a series of 24 monthly fascicles, each containing 4 original lithographs, printed by Parisian Imprimerie Champenois. Many accomplished European Art Nouveau painters contributed works to this publication, which contained only Original prints invented and produced especially for this collection. The publication was edited by Charles Masson and H. Piazza. Each issue came in a paper cover bearing an original lithograph by Alphonse Mucha.
Each lithograph was accompanied by a tissue containing the details (title of the artwork, name of the artist, etc.) and a short text by a well-known author who inspired the artist (this one being from Les Armoires de la Ville de Paris, by Maréchal de France Alain Emmanuel de Coetlogon, 1646-1730).
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About the artist
Jules-Gustave Besson (Paris, 1868 -Saigon, 1942), was a French painter .
He entered the École des Beaux-Arts in Paris where, from 1887 to 1895, he took classes from Alexandre Cabanel , Élie Delaunay and Gustave Moreau. Working initially in the religious genre, he quickly distanced himself from the influence of these masters to turn towards naturalism. He showed himself to be sensitive to the working class conditions of his time and his country or in England . He was close to the naturalist painters Jules Bastien-Lepage and Pascal Dagnan-Bouveret .
He exhibited at the Salon des Artistes Français from 1896 to 1925.
In 1925 he won the Indochina Prize and the following year he succeeded André Joyeux as director of the Gia Định School of Applied Arts ( Trường Mỹ nghệ thực hành Gia Định ) in the suburbs of Saigon, then in French Cochinchina .
His artworks are collected by many museum, from Paris to the Hermitage in St. Petersburg, Russia
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from the text on the tissue paper, by Emile Zola:
On n'apercevait plus, du haut en bas des trémies, que les dos ronds des femmes.
Dehors, le vent s'était brusquement calmé, un froid humide tombait du ciel gris. Les charbonniers gonflèrent les épaules, croisèrent les bras et partirent, débandés, avec un roulis des reins qui faisait saillir leurs gros os, sous la toile mince des vêtements. Au grand jour, ils passaient comme une bande de nègres culbutés dans de la vase. Quelques-uns n'avaient pas fini leur briquet, et ce reste de pain, rapporté entre la chemise et la veste, les rendait bossus\.\.
C'était la descente de trois heures, encore des hommes que le puits mangeait, et dont les équipes allaient remplacer les marchandages des haveurs, au fond des voies. Jamais la mine ne chômait, il y avait des insectes humains fouissant la roche, à six cents mètres sous les champs de betteraves.
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Important:
. The listing is for the original print, in the above mentioned very good / excellent condition.
. The original tissue paper introduction has some folds and tears, especially along the margins, and it will be given as is to the buyer as a gift for confirming the authenticity.
. The cover by Mucha is shown as a reference This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution less
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