Pierre Auguste Renoir (1841-1919)
Plate measure 4.5 x 3.25 inches. Signed in plate. Margins bear glue marks from framing prior to 1968. Sheet is glued down. Current water-gilt gold frame and silk matte were fabricated in 1968. Matte measures 9 x 11 inches; frame measures 10.25 x 12.25 inches.
TITLE: Le Chapeau Epingle ARTIST: Renoir, Pierre Auguste (Limoges, Paris, 1841 – Cagnes, 1919) DATE: 1894: First Edition. MEDIUM: Original Etching. PUBLISHER: Dentu, Paris Pierre Auguste Renoir ‘Pierre Renoir’: One of the greatest masters of French Impressionism, Pierre-Auguste Renoir created slightly over fifty original etchings or lithographs during his life. His first original graphic work of art was created in 1890 and, during the following ten years, he was encouraged to produce more etchings and lithographs by his friends, such as the etcher, Roux-Champion, and the publisher, Ambrose Vollard. The themes of Renoir’s original prints are very much akin to those of his paintings; scenes of people he admired, children, bathers, nudes — all examined in the ever changing light of the moment. The subject of Le Chapeau Epingle (‘The Pinned Hat’) was depicted by him in six different prints, three etchings and three lithographs. Renoir treated this scene of two young girls side by side, with one of them pinning on the others hat, in a series of variations at this time. His models are known to have been Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. The scene originated from a study Pierre Renoir made while on holiday on the coast of Northern France with Berthe Morisot and her family. Julie Manet was a favorite model for Renoir and on this occasion he drew her on the beach with her cousin who was adjusting the pin on her large sun hat. This impression of Le Chapeau Epingle is the third and final etched variation. In its treatment it is much more compelling and complex than the earlier two versions. This etching was commissioned by Dentu in Paris in 1894 for Gustave Geffroy’s art journal, La Vie artistique. It later appeared in Georges Riviere’s, Renoir et ses Amis, published in Paris in 1921. It should also here be noted that there are a number of modern re-strikes of this famous etching. One can, however, determine the differences of these editions by the papers used and their dimensions. First edition (1894) impressions, such as this original example, were printed upon light cream laid paper with small outside margins of slightly over 6″ by 4″. These impressions were also very finely printed. Second edition (1921) impressions were printed upon smooth wove paper with large margins. Finally, modern re-strikes appear on thin, white laid paper with large margins. They are usually dark and over-inked: as the plate lines lost their depth, the printers became increasingly desperate to make the ink hold. EDITION: Publication information for first edition impressions is not known. However, they must have been published in very small numbers because they are now listed as rare. Raisonne: Loys Delteil, Le Peintre-Graveur Illustre, Paris, 1923, Volume 17. Catalogue # 8, Second and final state as published in Paris in 1894. Raisonne: Dr. Joseph G. Stella, The Graphic Work of Renoir, Lund Humphries, London, n.d. Catalogue # 8, Second and final state as published in Paris in 1894. IMAGE SIZE: 4 1/2 X 3 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.) CONDITION: Printed upon light cream, laid paper with margins measuring slightly over 3″ by 3″ inches. Signed by Renoir in the plate to the lower left. A superb, delicately printed impression and in excellent condition throughout. Margins have glue marks from previous framing. Sheet in glued down to cardboard backing.