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issue, outside the annual subscription, and with more prints in the single issue, as well as the board covers, is not known. It is not known if the subscription offer sold out, but by 1898 it was reported that a complete set cost 600 francs, presumably on the art market rather than from the publishers.
416:, who also had a lithograph in album VII, it shows a half-length nude woman seen from behind, with the title, set in a octagonal frame. It is just under two inches in each dimension, and is usually placed near a corner of the lower margin, where there is room, or in a quiet area within the composition.
382:
The first album was promised for 30 March 1893; the initial subscription price was 150 francs for a year, for four issues with ten prints each. The price to later buyers would be 200 francs. This represented far better value for subscribers than the earlier issues of 1888/89. The price of the final
378:
will publish ...". This explained the contents of the album, and listed 51 artists who had promised works; all but six, and these minor figures, later contributed. An "accompanying text" by the critic and arts civil servant Roger Marx was promised, and his "Preface" of some two pages did eventually
279:
When
Jacquelynn Baas was writing her article in 1983, no complete set of the early issues from the 1880s was apparently known to survive in any museum, and a note reported with some excitement that another print scholar "had recently seen a copy of the first issue" in a French private collection.
263:
had an earlier life, under different direction but in a similar format and with some of the same artists, in 1888 and 1889. Three issues were published, the first of ten prints in 150 copies, costing 100 francs. The six or more artists contributing to the first issue included four who also made
183:
Commentators at the time and subsequently have unanimously praised the success of the publisher, André Marty, in collecting a stellar group of artists, and in many cases getting them to produce some of their finest prints. Together the group display the main currents in the diverse and vibrant
202:
is very apparent, but the more traditional styles of the
Etching Revival are also well-represented. There is a great variety of printmaking techniques used, some of which would only have been possible in a relatively small edition of 100. Of the prints, 60 were lithographs, 26 in the various
280:
The title as revived under Marty was "better-organized, better-known, and, it must be admitted, higher-quality", not to mention better value. Unless stated otherwise, references to the title in this article refer to Marty's issues. All the prints in the early three issues were
597:
241:
ribbons. This was apparently intended to now hold all the previous issues as well, and the title included a pun on "closure". Many buyers removed prints from the album to frame and hang, as had been anticipated. The prints were nearly all newly created for
324:
was published by the otherwise obscure, but evidently well-connected, figure of André Marty, about whom little is known. He published a number of books, mostly on history, but including one on printmaking in 1906, and became director of the weekly
394:(both contributors) dated 28 January 1894 referred to a lithograph he had already completed for "the last number of Marty's portfolio", which was not to be published for over a year. This indicates the degree of forward planning Marty used.
445:
426:
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1154:
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18:
468:
246:, had different sizes, and were often printed on different papers; indeed not all were by the same printer. They were signed and numbered, and the margins embossed with a small blind stamp, common to all the series.
487:
578:
308:, which also had two incarnations, the first of three issues in 1894–1895, and the more successful second of 24 issues in 1897–1899. These were all lithographs in a much larger print run, leaning more to
529:
510:
198:
compared with typical prints from earlier decades, but there are many landscapes and city views, traditional in style and not, and a wide range of other subjects. The rising influence of
336:
None of the internal documentation of the enterprise is known to have survived, leaving much unclear for scholars. Apart from the nine portfolios, the only other activity of the
58:
of 100 for subscribers. It produced nine issues quarterly between 1893 and 1895, containing a total of 95 original prints by a very distinguished group of 74 artists, including
276:, and the other issues, about which much is obscure, also used artists who appeared in the revived title. Lepère appears to have been a key figure in organizing the title.
287:
1263:
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359:
214:
956:, eds. Phillip Dennis Cate, Gale Barbara Murray, Richard Thomson, National Gallery of Art Washington, D.C., 2000, National Gallery of Art/Lund Humphries,
188:
beginning in the 1850s, France saw another wave of productivity in printmaking in the 1890s, with a great variety of techniques, subjects, and styles.
1248:
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233:
Each issue was printed in only 100 impressions. The first eight issues each had ten loose prints in a paper cover or wrapper; the last was entitled
1243:
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965:
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A small decorative woodcut by George Auriol, printed with the
Preface in issue VI (Cat. 3) is counted as one of the prints.
161:
75:
211:. A striking common factor is the high proportion using colour, in many different techniques, not just the lithographs.
568:
284:; the large number of images in colour, using a variety of techniques, is a striking feature of the revived issues.
954:
Prints Abound: Paris in the 1890s: from the
Collections of Virginia and Ira Jackson and the National Gallery of Art
139:
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59:
22:
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The blind stamp, sometimes cut from the margin and mounted separately by collectors (Cat. 15). Designed by
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illustrated with lithographs (all in black apart from the lettering on the cover) by
Toulouse-Lautrec and
269:
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237:("Closing album") and the fourteen prints were between two paper-covered boards secured by two cream
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appear in the sixth volume, effectively the only text in the project other than lists of the prints.
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with him. Marty bought the rights to use the title from the publishers of the 1888 project.
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Eight issues of ten prints each, giving 80 (including two paper covers, for issues I and V)
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The 95 entries in the Stein and
Karshan catalogue are made up as follows:
386:
The project was probably always intended to be short-lived; a letter from
615:
436:
71:
203:
intaglio techniques (with a third of these using colour), 7 woodcuts, a
922:
226:
899:
Stein, 7, 11, 23. Stein's catalogue notes the location for each print.
67:
481:("The Acid Thrower") 1894, lithograph with hand-stencilled colours.
358:
286:
238:
213:
160:
87:
17:
1015:
1006:"L'Estampe originale": Artistic Printmaking in France 1893–1895
952:
Cate, Phillip Dennis, "Prints Abound: Paris in the 1890s" in
302:
is also not to be confused with the similar but much cheaper
295:
issue 5, celebrating the second year, colour lithograph, 1894
942:
Baas, Jacquelynn, "The
Origins of L'Estampe originale", in
1011:
972:"L'Estampe Originale: A Rare Print Portfolio Now Online"
805:
Stein, 8, 14, where note 14 lists Marty's other titles.
409:
Issue IX with fourteen prints (including a paper cover)
329:(of 17, Rue de Rome) in 1893, but left in 1894, taking
944:
Bulletin of the
University of Michigan Museum of Art
1173:
1130:
1049:
264:prints for the revived publication: Bracquemond,
668:Stein, 20–40 has a catalogue in alphabetic order
523:, 1893, 4-colour lithograph, 59.3 x 42.1 cm
374:was published early in 1893, beginning "... the
974:, Metropolitan Museum of Art blog, 6 March 2015
435:, Portrait of Henri de Toulouse-Lautrec, 1890,
749:Baas, throughout, especially 19–21; Stein, 7–8
37:peruses a print Père Cotelle has just run off.
1027:
184:Parisian art scene of the period. After the
8:
1004:Phillip Dennis Cate, Patricia Eckert Boyer,
981:, 1970, The Museum of Graphic Art, New York
1034:
1020:
1012:
994:, Amsterdam, web feature with many images
979:L'Estampe originale; A Catalogue Raisonné
929:is very obselete, and likely to confuse.
1264:Quarterly magazines published in France
652:
553:
422:
1229:Defunct magazines published in France
977:Stein, Donna M., Karshan, Donald H.,
767:Baas, 13, "Author's note"; Stein, 7–8
363:The blind stamp used on every print,
340:imprint was in 1893, as publisher of
7:
970:Salsbury, Britany, and Conte, Lisa,
572:("Manao Tupapau"), 1894, lithograph
370:A short prospectus for the revived
50:publishing portfolios of original
14:
1249:Magazines disestablished in 1895
1224:1895 disestablishments in France
623:
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179:), lithograph in 4 colours, 1893
194:has a notably large number of
1:
1244:Magazines established in 1893
1219:1893 establishments in France
795:Adventures in the Print Trade
1254:Magazines published in Paris
138:. British artists included
569:Spirit of the Dead Watching
1280:
827:Stein, 17 is a translation
686:Stein, 10–13; Salsbury; VG
641:), 1893, colour lithograph
462:), 1893, colour lithograph
352:, who both contributed to
291:Camille Martin, cover for
1239:French-language magazines
585:Henri de Toulouse-Lautrec
60:Henri de Toulouse-Lautrec
33:in 6 colours. The dancer
23:Henri de Toulouse-Lautrec
1155:Toulouse-Lautrec Cooking
677:Stein, 6–7; Salsbury; VG
1234:French art publications
818:for the style of venue.
612:La baignade Ă Talloires
225:("The Demonstration"),
158:was the only American.
25:, Cover for issue 1 of
921:by Stein, but "oil of
546:), 1894, etching with
367:
296:
230:
180:
38:
414:Alexandre Charpentier
365:Alexandre Charpentier
362:
290:
217:
164:
21:
731:Stein, 6–7; Salsbury
608:Bathing at Talloires
376:Journal des Artistes
327:Journal des Artistes
274:Auguste-Louis Lepère
270:Henri-Patrice Dillon
154:; besides Whistler,
1182:L'Estampe originale
1082:Henri-Gabriel Ibels
987:L'Estampe originale
919:The Vitriol Thrower
536:Henri-Gabriel Ibels
521:Henri-Gabriel Ibels
372:L'Estampe originale
354:L'Estampe originale
350:Henri-Gabriel Ibels
346:Georges Montorgueil
338:L'Estampe originale
331:L'Estampe originale
322:L'Estampe originale
300:L'Estampe originale
293:L'Estampe Originale
261:L'Estampe originale
244:L'Estampe originale
192:L'Estampe originale
152:William Rothenstein
92:Henri Fantin-Latour
43:L'Estampe originale
27:L'Estampe originale
1198:Post-Impressionism
1102:Ker-Xavier Roussel
946:, Volume 5, 1983,
591:, 1895, lithograph
368:
316:Second incarnation
297:
231:
181:
170:The Road from Gaud
128:Ker-Xavier Roussel
106:. Almost all of
104:Puvis de Chavannes
39:
1206:
1205:
1163:Homage to CĂ©zanne
964:, 9780853317944,
305:L'Estampe Moderne
255:First incarnation
140:William Nicholson
96:FĂ©lix Bracquemond
1271:
1122:Édouard Vuillard
1092:Aristide Maillol
1036:
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631:Charles Guilloux
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589:Album de clĂ´ture
587:, cover for the
581:
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504:lithograph, 1895
490:
471:
460:Bois Frissonants
448:
439:printed in brown
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388:Camille Pissarro
235:Album de clĂ´ture
223:La Manifestation
144:Charles Ricketts
124:Édouard Vuillard
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1112:FĂ©lix Vallotton
1087:Georges Lacombe
1067:Maxime Dethomas
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999:Further reading
992:Van Gogh Museum
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398:Count of prints
392:Lucien Pissarro
342:Le Café-concert
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219:FĂ©lix Vallotton
196:figure subjects
186:Etching Revival
132:FĂ©lix Vallotton
56:limited edition
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1008:, Zwolle, 1991
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917:Translated as
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156:Joseph Pennell
112:Pierre Bonnard
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1062:Maurice Denis
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110:contributed:
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100:FĂ©licien Rops
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45:
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1139:The Talisman
1137:
1077:Hermann-Paul
1005:
986:
978:
953:
948:google books
943:
918:
913:
908:Stein, 7, 20
904:
895:
890:Stein, 20–40
886:
877:
868:
859:
850:
845:Stein, 7, 17
841:
832:
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785:VG; Baas, 17
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664:
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639:L'Inondation
638:
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564:Paul Gauguin
548:surface tone
543:
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494:Odilon Redon
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344:, a book by
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320:The revived
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266:Henri Boutet
260:
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174:La Route de
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148:Walter Crane
84:Odilon Redon
42:
41:
40:
26:
15:
1259:Nabis (art)
1117:Jan Verkade
1097:Paul Ranson
836:Stein, 7, 9
618:, 1888/1894
544:Les Paveurs
502:chine collé
390:to his son
310:Art Nouveau
200:Art Nouveau
120:Paul Ranson
80:Paul Signac
1213:Categories
962:0853317941
937:References
713:Stein, 6–7
635:The Deluge
282:monochrome
259:The title
209:gypsograph
48:periodical
35:Jane Avril
31:lithograph
1193:Lugné-Poe
1131:Paintings
881:Stein, 13
722:Stein, 13
704:Stein, 4,
517:Au Cirque
108:Les Nabis
1188:Intimism
1050:Painters
966:full PDF
872:Stein, 8
863:Stein, 7
854:Baas, 20
776:Baas, 20
758:Baas, 17
740:Stein, 7
616:aquatint
437:aquatint
76:Whistler
72:Pissarro
29:, 1893,
1174:Related
923:vitriol
250:History
227:woodcut
64:Gauguin
1166:(1900)
1158:(1898)
1150:(1893)
1142:(1888)
984:"VG":
960:
498:Buddha
229:, 1893
207:and a
134:, and
68:Renoir
52:prints
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