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Yves & Barret (active c. 1870–1890) were French engravers and inventors of a phototypographic reproduction process. Barret was the namesake of Jeanne Barret (aka Jeanne Baret), a poster artist born in La Comelle, France, and who died in Saint-Aulaye, France. He mainly worked during the modern period.

A. Yves, Engraver, designer and poster artist. - Associated with Barret, inventor of a phototypographic reproduction process around 1880.
  • BnF 14960108j (A. Yves, graveur) (latest work; 1894)
  • BnF 14960108j. (Yves)
  • BnF 14960109w (Barret, graveur)
  • BnF 14960109w (Barret)

History

[edit]

Yves & Barret were prolific contributors of political cartoons and various illustrations for French publications, including La Vie Parisienne. Their partnership specialized in a technique called gillotage, a lithographic method where an image was either drawn or transferred onto a zinc plate, then covered with a resin that adhered to the lines. When the plate was exposed to acid, the resin acted as a resist, leaving behind a raised image that could be inked and printed. This method was widely used in newspapers as it allowed for seamless integration with type blocks, making it an efficient process for mass production of illustrations."[1]


"Yves et Barret (fl. c. 1870–1890) were French engravers active in the late 19th century. They engraved political cartoons and other images for French periodicals, including La Vie Parisienne. This partnership was known for creating works using gillotage, a now obsolete lithographic process wherein a drawing was made on or transferred to zinc and then dusted with resin, which adhered to the drawing. The resin then acted as an acid-resist when the ent ire plate was immersed in acid, creating a relief block that could then be inked and printed from. This printing technique was popular with newspapers, as it was completely compatible with blocks of type".[2]


New Information 1

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Direct quote
L’historien d’art et bibliothécaire Jean-Pierre Seguin (1920-2014) déclare : « Nous avouons n’avoir pas trouvé quel fut exactement le procédé employé. Yves et Barret furent les successeurs de Marchandeau. »34. Yves et Barret furent des graveurs associés inventeurs d’un procédé de reproduction phototypographique récompensé, comme ils s’en vantent dans le Didot-Bottin de 1881 :


Annuaire-almanach du commerce, de l’industrie, de la magistrature et de l’administration : ou almanach des 500.000 adresses de Paris, des départements et des pays étrangers Didot-Bottin, Paris : Firmin-Didot et Cie, 1881, p. 1521. Disponible sur Internet, url : <https://gallica.bnf.fr/ark:/12148/bpt6k9764647w/f1515>.

Marchandeau, comme ses successeurs Yves35 et Barret36, employait le procédé également adopté par Ferdinand Lefman (1827-1890), celui du “gillotage” produit par Firmin Gillot (1819-1872)37, et qui consiste en une “zincographie”.

New Info 2

[edit]
Paris, 1875: Souvenir de participation au congrès international des sciences géographiques [Memento of participation in the International Congress of Geographic Sciences].
Français : Yves et Barret, NCT, photogravure, gravure chimique en relief pour la typographie, par procédés perfectionnés, médaille d'or de 1ʳᵉ classe au congres international des sciences géographiques, Paris, 1875. Diplôme et méd. [Diplôme et méd. means "diploma and medal"] aux expositions de Rome 1870, Londres 1872, Lyon 1872, et Vienne 1873, Paris 1874 et 1878, rue Thevenot, 6, pres la rue Saint-Denis.
English:    Yves and Barret, NCT, photogravure, chemical engraving in relief for typography, using perfected processes, gold medal of 1st class at the International Congress of Geographic Sciences, Paris, 1875. Diploma and medal at the exhibitions of Rome 1870, London 1872, Lyon 1872, Vienna 1873, Paris 1874 and 1878, 6 Rue Thevenot, near rue Saint-Denis."

Temporary references

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    1. BnF 9764647w
    2. BnF 32695639f
    3. LCCN sf86-91914
    4. ISSN 2452-7246 (BnF)
    5. ISSN 1770-6890 (HathiTrust)
    6. ISSN 1770-6777
    8. ISSN 1770-6882 ( ...et de Annuaire général du commerce, de l'industrie, de la magistrature et de l'administration [ ... and General Directory of Commerce, Industry, Judiciary and Administration].)
    9. ISSN 2610-2897 (Becomes Annuaire du commerce Didot-Bottin [Didot-Bottin Business Directory].)
    10. ISSN 3040-844X (Supplement: Album illustré de l'Almanach Didot-Bottin [Illustrated Album of the Didot-Bottin Almanac]: 1877–1879.)
      (Supplement: Annuaire illustré des fabricants [Illustrated Album of the Didot-Bottin Almanac]: 1880–1883.)
    11. OCLC 8450268 (all editions), OCLC 472031623 (all editions), and 1125689879
The term "imprimeurs-libraires de l'institut" refers not merely to a professional designation, but to a prestigious affiliation with a leading intellectual body, such as the Institut de France. During the 19th century, printers and booksellers granted this title were recognized for their excellence and entrusted with producing scholarly works on behalf of esteemed academic institutions. This association highlighted the firm's distinguished role in France's intellectual and cultural life, elevating it beyond a standard commercial operation.


In the image, the letters inside the box appear to be "NCt". Given the context of the advertisement, "NCt" could refer to a designation or an abbreviation related to the engraving or typography process, potentially representing a particular technique or certification that Yves and Barret used.
In this case, "NCt" could stand for something like "Nouvelle Chromotypie" (New Chromotypy) or a similar process related to photogravure or chemical engraving used at that time. While this abbreviation is not immediately clear from typical terminology, it may have been a proprietary term or specific to their technology.

Photoengraving innovation of Yves & Barret

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In this 1870s French publication, Yves and Barret are credited with a significant innovation in the field of photogravure (a technique combining photography and engraving) on zinc plates, which allowed for the economical and industrial production of chemical engraving for printing.

Here’s a breakdown of what they innovated:

  1. Photogravure on Zinc: The passage describes a process where any subject or drawing, created with ink or pencil on white paper, could be photographically reproduced and converted into a relief engraving on zinc. This type of engraving was designed for typographic (printing press) use.
  2. Chemical Engraving Technique: Yves and Barret, along with Gillot, applied principles involving bichromated gelatin and bitumen of Judea (a light-sensitive substance) to industrialize this photogravure process. Their process allowed for the precise and cost-effective creation of engravings used in printing.
  3. Innovation in Process:
    • A zinc plate was coated with bitumen of Judea, and a photographic negative was applied to this surface.
    • The plate was exposed to sunlight, transferring the image onto the bitumen.
    • The image was developed using turpentine, which removed the bitumen from areas corresponding to the opaque parts of the negative, revealing a pattern on the zinc plate.
    • The revealed areas were then chemically etched to create relief areas for printing: the black areas of the drawing remained in relief, while the white areas were etched away.
  4. Advancement in Economical Production: Yves and Barret’s method improved the efficiency and affordability of producing these plates for printing, making it more accessible for industrial applications. The process could be repeated multiple times to ensure that tones and half-tones in the original drawing were accurately captured, a task requiring significant skill and experience.
  5. Refinement with Resin Grains: Finally, the engravers would use resin grains to adjust the intensity of the tone, ensuring high-quality prints with detailed shading and textures. This method allowed for control over the gradation of tones in the final printed image.

The upshot is that Yves & Barret played a key role in developing and refining the use of photogravure on zinc for printing, making the process more industrially viable and economical, and allowing detailed reproduction of images for typographic use. This represented a major advancement in the field of chemical engraving during the time.

At the start of the 19th century, a technique gained popularity that involved transferring a drawing onto a lithographic stone from a special paper coated with a mix of starch and gelatin. This method, called autographic transfer, allowed artists to easily reproduce their drawings.

Firmin Gillot (1820–1872), a French printmaker (engraver) and inventor, took this a step further. On March 21, 1850, he patented an idea: instead of transferring the image to a stone, he transferred it to a zinc plate. Then, using acid to etch the image, he created raised surfaces on the plate where the drawn lines were. This technique transformed the flat image into a printing plate that could be used for relief printing, similar to traditional typesetting methods.

This process, a zincography innovation, became known as gillotage. It was also known as paniconography and eventually evolved into what we now recognize as typographic photogravure. It allowed for the mass production of images and text, playing a key role in the development of modern printing techniques by creating a link between artistic lithography and commercial printing methods. This breakthrough made it easier to reproduce intricate illustrations alongside text in publications, making it a precursor to the image printing we see today in books and newspapers. In 1951 – the 100th-year anniversary of Gillot's invention – Pierre de Gaulle (1897–1959) re-named rue de la Grotte after the inventor, rue Firmin-Gillot. Gillot's workshop was on this street; although, from 1863 to 1877, it was named rue Fondary, of Vaugirard, a former French commune that was annexed by Paris June 16, 1859.

xxxxx

Vve is an abbreviation for veuve, meaning widow – Mélanie Félicité Eugénie Josèphe Cordier (1823–1910) – indicating that the business is being run by the widow. Fils means son – Charles Firmin Gillot.

xxxxxxxxxx

    1. Via Gallica (BnF Gallica). Free access icon
    2. Via HathiTrust (University of Chicago). Free access icon
    3. Via Google Books (University of Chicago). Free access icon


Temporary references

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Commemorative medal of the solemn ceremony of distribution of awards given by the Society for the Protection of Apprentices and Children Employed in Factories which took place on October 27, 1867 at the Palais de l'Industrie of the Universal Exhibition in Paris under the presidency of Empress Eugénie. This side represents a crowned female figure in a benevolent posture towards five children working in factories, three boys and two girls.
  • Duruy, Édouard, secrétaire (1890). "Les arts graphiques à l'exposition de 1889" ["Graphic Arts at the 1889 Exhibition"]. "Rapport présenté à la Chambre syndicale des Industries diverses dans la séance du 19 novembre 1889" ["Report Presented to the Trade Union Chamber of Various Industries in the Session of November 19, 1889"]". In Société de protection des apprentis et des enfants employés dans les manufactures (ed.). Bulletin – Société de protection des apprentis et des enfants des manufactures [Society for the Protection of Apprentices and Children in Factories]. Paris: A. Chaix. p. 163.{{cite book}}: CS1 maint: multiple names: authors list (link) Free access icon

Gillotage

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Line blocks were first used in France in periodical publications such as L'Art pour tous (1861–1891) and Journal Avantscène. Two early examples appear in Claude Motteroz’s Essai, one created by Lefman and the other by Yves & Barret, who would go on to become one of France's leading producers of line blocks. The most famous book to feature the gillotage process in France was the 1882 edition of Francesco de Quevedo's Pablo de Segovia, illustrated by Daniel Vierge (1851–1904). However, the technique had already been employed in previous works such as Gustave Doré’s Ariosto (1879) and Albert Jacquemart’s Histoire du Mobilier (Paris, 1876). The latter was translated into English by Fanny Bury Palliser (1805–1878) as A History of Furniture, published by Chapman & Hall in 1878. This edition contains line blocks signed by Gillot and is considered one of the earliest English books to feature this process.[3]

Different explanation of process

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Since 1858, the time when Mr. Th. du Moncel presented his report, paniconography has made great progress, thanks to the efforts of the inventor Mr. Gillot, Mr. Lefmann and Messrs. Yves and Barrett, etc. The engravings of the Vie Parisienne and the Charivari provide excellent examples of this process: combined with heliogravure, which we discuss later, it gives more perfect results from day to day: the future belongs to it.

Fencing image

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    1. Via HathiTrust (Northwestern University).
    1. Via HathiTrust (Northwestern University).
      See → Comédie-Française
    1. Via HathiTrust (Northwestern University). p. 348.
      See → Manuel Luque
      See → Arsène Vigeant
    1. Via HathiTrust (Northwestern University). p. 355.

Poem (women's liberation, fencing)

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La femme sous le plastron

Robida 1880 ca.

Robida, probablement 1880

Astié de Valsayre avait beau prétendre, comme le montre la caricature de Robida, que l’escrime est excellente pour le développement de la poitrine, la question intrigue et déconcerte jusqu’aux poètes :

Escrime
(21 décembre 1883)

« Chez nous l'Éternel Féminin
   A pris un essor léonin.
   Les femmes les plus délicates
          Sont avocates.

   D'autres, ayant le charme empreint
   Sur leur front, dont nous n'avions craint
   Que les oeillades assassines,
          Sont médecines.

   Celles-là, dont le vent mutin
   A follement, dès le matin,
   Baisé les boucles et les tresses,
          Sont les peintresses.

   Celles-ci, coeurs inexpliqués,
   Mettent en rhythmes compliqués
   Leurs mélodieuses tristesses
          De poétesses.

   D'autres par l'esprit le plus fin
   Nous ravissent. D'autres enfin,
   Et certes ce n'est pas un crime
          Font de l'escrime.

   Elles en font même très bien.
   Carolus Duran ne sait rien
   Vraiment que désormais ignore
          Ninette ou Laure.

   Ces tireurs, qu'Amour effleurait,
   Tiennent maintenant le fleuret,
   Enchaînant avec mille charmes
          Leurs phrases d'armes.

   Que n'as-tu pu voir, ô Balzac!
   Leurs ripostes du tac au tac,
   Leur jeu correct et leur mimique
          Académique!

   Aussi bien que l'homme hideux,
   Elles savent faire: Une! Deux!
   Quant à leurs attaques d'allonge,
          C'est comme un songe!

   Qu'elles mènent agilement
   Les changements d'engagement!
   Quand un homme est leur adversaire,
          Mon coeur se serre.

   Car bien vite mécontenté,
   Il est toujours au fond tenté
   De tomber aux pieds de ce sexe
          Et, tout perplexe,

   Il se sent devenir poltron
   À voir frémir sous le plastron,
   Comme une cruelle épigramme,
          Un sein de femme. »

   Théodore de Banville


The Woman Under the Breastplate
Robida 1880 ca.
Robida, probably 1880

Astié de Valsayre may well have claimed, as illustrated in Robida’s caricature, that fencing is excellent for chest development, but the question both intrigues and confounds even poets:

Fencing
(December 21, 1883)

"At home, the Eternal Feminine
Has taken a leonine flight.
The most delicate women
       Are now lawyers.

Others, with a charm imprinted
On their brows, whose gazes
We once feared as murderous,
       Are now doctors.

Those whose playful breeze
Kisses the curls and tresses
Wildly from the morning,
       Are now painters.

And some, with mysterious hearts,
Compose their melodious sorrows
Into intricate rhythms,
       As poets.

Others, with the finest wit,
Captivate us. Others, finally,
And certainly, it is no crime,
       Practice fencing.

And they do it very well.
Carolus Duran truly knows
Nothing now that Ninette or Laure
       Haven’t mastered.

These fencers, once brushed by Love,
Now hold the foil,
Weaving their phrases of arms
       With a thousand charms.

Oh, Balzac! If only you could see
Their quick ripostes,
Their proper form and academic
       Expressions!

As well as any ugly man,
They know how to strike: One! Two!
And their extended lunges—
       Like a dream!

How skillfully they lead
The changes of engagement!
When a man is their opponent,
       My heart clenches.

For he quickly grows frustrated,
Always tempted deep down
To fall at the feet of this sex,
       And, utterly perplexed,

He feels himself become cowardly,
Seeing the trembling beneath the plastron,
Like a cruel epigram,

       A woman’s breast."
This poem humorously reflects on the rise of women in professional and artistic fields, including fencing, which was traditionally male-dominated. It playfully acknowledges their competence and the disarming effect they have on their male opponents.
[edit]


  • Yves & Barret
  • Jean-François Millet (1814–1875), illustrated by Alfred Sensier (1815–1877) (1880)
    Jean-François Millet (1814–1875), illustrated by Alfred Sensier (1815–1877) (1880)
  • Jean-François Millet (1814–1875), illustrated by Alfred Sensier (1815–1877) (1880)
    Jean-François Millet (1814–1875), illustrated by Alfred Sensier (1815–1877) (1880)
  • Fernando Circus (Yves & Barret, engravers).
    Fernando Circus (Yves & Barret, engravers).
  • Fernando Circus (Yves & Barret, engravers).
    Fernando Circus (Yves & Barret, engravers).
  • "Fantine-Essler & Cosette-Daubray". La Revue comique des théâtres et concerts. N°7. May 19, 1878.[a]
    "Fantine-Essler & Cosette-Daubray". La Revue comique des théâtres et concerts. N°7. May 19, 1878.[a]
  • "Fantine-Essler & Cosette-Daubray". La Revue comique des théâtres et concerts. N°7. May 19, 1878.
    "Fantine-Essler & Cosette-Daubray". La Revue comique des théâtres et concerts. N°7. May 19, 1878.
  • Émile Zola (1840–1902), holding a copy of Le Voltaire with a headline bearing the title of his 1880 novel, Nana. Alexandre Bloch (1857–1919), artist. Published June 8, 1879.
    Émile Zola (1840–1902), holding a copy of Le Voltaire with a headline bearing the title of his 1880 novel, Nana.
    Alexandre Bloch (1857–1919), artist. Published June 8, 1879.
  • Vigeant vs. Valsayre? Albert Robida, artist.
    Vigeant vs. Valsayre?
    Albert Robida, artist    .
  • Auguste Vacquerie. "Ci-dessus, esprit fin, cœur droit, vaillante plume, L'auteur de Jean Baudry, le succès qu'on reprend. Son œuvre de lumière en deux mots se résume : « éclaireur au journal ; au théâtre éclairant »" ["Above all, a sharp mind, a just heart, a courageous pen, the author of Jean Baudry [1863], the success one reclaims. His luminous work can be summed up in a few words: 'A beacon in journalism; illuminating in theater'"].
    Auguste Vacquerie.
    "Ci-dessus, esprit fin, cœur droit, vaillante plume, L'auteur de Jean Baudry, le succès qu'on reprend. Son œuvre de lumière en deux mots se résume : « éclaireur au journal ; au théâtre éclairant »" ["Above all, a sharp mind, a just heart, a courageous pen, the author of Jean Baudry [1863], the success one reclaims. His luminous work can be summed up in a few words: 'A beacon in journalism; illuminating in theater'"].
  • "Maison spéciale de deuil à la religieuse, 2, rue Tronchet et place de la Madeleine. Agrandissements des magasins" ["Special Mourning House for Nuns, 2 rue Tronchet and Place de la Madeleine. Expansion of the Stores"].
    "Maison spéciale de deuil à la religieuse, 2, rue Tronchet et place de la Madeleine. Agrandissements des magasins" ["Special Mourning House for Nuns, 2 rue Tronchet and Place de la Madeleine. Expansion of the Stores"].
  • "Tout le monde juré, par Poll, Paris Musées" ["Everyone sworn, by Poll, Paris Museums"].
    "Tout le monde juré, par Poll, Paris Musées" ["Everyone sworn, by Poll, Paris Museums"].
  • Auguste Vacquerie, caricature by André Gill in L'Éclipse (November 3, 1872). Engraved by Yves and Barret. (Victor Hugo Museum, Paris.)
    Auguste Vacquerie, caricature by André Gill in L'Éclipse (November 3, 1872). Engraved by Yves and Barret. (Victor Hugo Museum, Paris.)
  • Yves & Barret, engraver. André Gill (1840–1885), illustrator (1781). Caricature of Léon Gambetta, French republican statesman, leaning on the back of a chair and looking up at vignettes of himself. He escaped the Siege of Paris in the balloon, "L'Armand Barbes" October 7, 1870.
    Yves & Barret, engraver. André Gill (1840–1885), illustrator (1781). Caricature of Léon Gambetta, French republican statesman, leaning on the back of a chair and looking up at vignettes of himself. He escaped the Siege of Paris in the balloon, "L'Armand Barbes" October 7, 1870.
  • Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
    Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
  • "Au théâtre en été :" – "Ouvreuse, « je quitte ça. Il fait si chaud ! »" ["Usherette, 'I'm leaving this. It's so hot!'"], From Le Charivari, 24 July 1872.
    "Au théâtre en été :" – "Ouvreuse, « je quitte ça. Il fait si chaud ! »" ["Usherette, 'I'm leaving this. It's so hot!'"], From Le Charivari, 24 July 1872.
  • Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
    Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
  • Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
    Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
  • Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
    Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
  • Almanach des Muses (Yves & Barret, engravers)
    Almanach des Muses (Yves & Barret, engravers)
  • "Châtiment". "Souvenir de la nuit du 4" ["Punishment". "Memory of the night of the 4th"]. Handwritten note: "'L'enfant reçu deux balles dans la tête'. Victor Hugo" ["'The child had received two bullets in the head'. Victor Hugo"] (1994).
    "Châtiment". "Souvenir de la nuit du 4" ["Punishment". "Memory of the night of the 4th"]. Handwritten note: "'L'enfant reçu deux balles dans la tête'. Victor Hugo" ["'The child had received two bullets in the head'. Victor Hugo"] (1994).
  • "Plus cher qu'au bureau — par Gill" ["More Expensive Than at the Office - by Gill"]. "M. Meurice" (1877).
    "Plus cher qu'au bureau — par Gill" ["More Expensive Than at the Office - by Gill"]. "M. Meurice" (1877).
  • "Plus cher qu'au bureau — par Gill" ["More Expensive Than at the Office - by Gill"]. "M. Meurice" (1877).
    "Plus cher qu'au bureau — par Gill" ["More Expensive Than at the Office - by Gill"]. "M. Meurice" (1877).
  • "Mon musée des souverains" ["My museum of sovereigns"]. en:Henri III "Le fondateur de la maison Sanfourche et l'inventeur des petits crevés" ["The founder of the Sanfourche house and the inventor of the 'petits crevés'"]
    "Mon musée des souverains" ["My museum of sovereigns"]. en:Henri III "Le fondateur de la maison Sanfourche et l'inventeur des petits crevés" ["The founder of the Sanfourche house and the inventor of the 'petits crevés'"]
  • "Les agrandissements de la ville de Saint-Denis" ["The Expansions of the City of Saint-Denis"] "Vue de la nouvelle entrée monumentale" ["View of the New Monumental Entrance"] (1881).
    "Les agrandissements de la ville de Saint-Denis" ["The Expansions of the City of Saint-Denis"] "Vue de la nouvelle entrée monumentale" ["View of the New Monumental Entrance"] (1881).
  • "Le calendrier de La caricature — par A Robida" ["The caricature calendar — by A Robida"] (1881).
    "Le calendrier de La caricature — par A Robida" ["The caricature calendar — by A Robida"] (1881).
  • Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
    Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
  • Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
    Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
  • Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
    Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].[4]
  • Là-bas dans l'île [Over on the Island]. By André Gill, Illustration de périodique (September 1878).{{cite book}}: CS1 maint: others (link).
    Là-bas dans l'île [Over on the Island]. By André Gill, Illustration de périodique (September 1878).{{cite book}}: CS1 maint: others (link).

Items to look for

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  • Le roi René et Jeanne de Laval, d'après un diptyque ayant appartenu autrefois à la famille Matheron, actuellement à M. Chazaud, in-8, reproduit dans « L'iconographie du roi René » par Eugène Hucher (fr) (1814–1889), gravé (ou gravé à l'eau-forte ou photogravure) par Yves et Barret [King René (1409–1480) and Jeanne de Laval (1433–1498), after (copying) a diptych that once belonged to the Matheron family, currently to M. Chazaud, in-8, reproduced in "L'iconographie du roi René" by Eugène Hucher, engraved (or etched or photoengraved) by Yves & Barret]]. 1879. OCLC 11286352 (all editions).
    1. Via Internet Archive (Kansas City Public Library). Retrieved October 5, 2024. Free access icon
    2. Via Google Books (NYPL). Retrieved October 5, 2024. Free access icon


King René (1409–1480) and his second wife, Jeanne de Laval (1433–1498), after a diptych formerly belonging to the Matheron family (Philippe Matheron?? (1807–1899), now to M. Chazaud, in-8, reproduced in the Iconography of King René by Eugène Hucher (fr) (1814–1889) (signed E. H. and Yves and Barret), and in the Memoirs of Commines, ed. Chantelauze, Paris, Didot, 1881, p. 309 (signed Huyot).

On the reverse a crowned lily stem, surrounded by a banner bearing the motto of Jean de Matheron, Ditat servata fides [Latin: Faith kept enriches]. Given by King René to Jean Matheron de Salignac (fr) (1440–1495), President of La Cour des maîtres rationaux de Provence (fr) (The Court of Rational Masters of Provence (fr)).


the piece has been preserved to this day by the Matheron family, whose last descendant is Madame the Countess of Saint-Pons, born of Wolant de Matheron, who sold it to Mr. Chazaud in 1872.
Ces deux portraits sont bien ceux dont il est question dans les extraits ci-dessus mentionnés ; en dernier lieu ils étaient la possession de Mme la comtesse de Saint-Pons, dernier descendant de la famille Matheron, qui les a cédés à feu M. Chazaud avec l'attestation suivante :
«  Veudu à M. Chazaud un diptyque représentant le roi René et Jeanne de Laval, sa femme, peint sur bois, donne à Jean de Matheron, l'un de mes ancetres, à l'occasion du baptême de son fils dont il était le parrain. »
« Ce diptyque est enfermé dans un sac de velours rouge, et conservé dans ma famille tel qu'il a été offert. Aix, le 5 octobre 1872. Signe : Julie de Wolant de Matheron, veuve de Saint-Pons. »
Depuis 1872, ce même diptyque appartenait it feu M. Chazaud, de Ia succession duquel il dépend encore aujourd'hui.
Haut., 18 cent.; larg., 28 cent.
These two portraits are indeed the ones mentioned in the above excerpts; they were last in the possession of the Countess of Saint-Pons, the last descendant of the Matheron family, who transferred them to the late Mr. Chazaud with the following attestation:
"Sold to Mr. Chazaud, a diptych representing King René and and is wife, Jeanne de Laval, painted on wood, originally given to Jean de Matheron, one of my ancestors, on the occasion of the baptism of one of Jean's sons, René de Matheron (c. 1450 – c. 1532), who also is a godson of King René."
"This diptych is enclosed in a red velvet bag and has been preserved in my family as it was offered. Aix, October 5, 1872. Signed: Julie de Wolant de Matheron, widow of Saint-Pons."
Since 1872, this same diptych belonged to the late Mr. Chazaud, from whose estate it still depends today.
Height: 18 cm; Width: 28 cm.
Français: M. Champollion-Figeac qui se trompait quelquefois dans ses appréciations, voulait que le portrait de femme du diptyque fût celui d'une maîtresse de René nommée Capelle. Mais cette assertion ne repose sur aucune preuve et doit être reléguée au rang des hypothèses les moins vraisemblables.
Cf. Les Tournois du roi René, publiés par Champollion-Figeac, Firmin Didot, Dubois et Motte, in-fol., 1820, où il est question non du diptyque original que nous reproduisons, mais d'une copie exécutée par M. Révoil ou d'après ses ordres.
Cf. Encore, Histoire des Rues d'Aix, par M. Roux Alphéran. Mais il existe une raison qui nous semble péremptoire et que M. Chazaud n'a pas manqué de faire valoir en partie, en rapprochant le diptyque de la famille Matheron, du triptyque d'Aix, c'est que la femme représentée dans le diptyque a les mêmes yeux à la chinoise que la Jeanne incontestable et connue du triptyque d'Aix. Aujourd'hui que nous avons sous les yeux les photogravures des deux peintures, le plus léger doute n'est plus possible.
English: Mr Champollion-Figeac [1778–1867], who was sometimes mistaken in his assessments, claimed that the portrait of the woman in the diptych was that of one of René’s mistresses named Capelle. But this assertion is based on no evidence and must be relegated to the rank of the least plausible hypotheses.
Cf. Les Tournois du roi René, published by (i) Champollion-Figeac, (ii) Firmin Didot, (iii) [Léon-Jean-Joseph] Dubois [1780–1846], and (iv) [Charles Étienne Pierre] Motte [1784–1836], in-folio, 1820 [OCLC 79942749 (all editions), OCLC 1415314951 (all editions), and 457468835], where it is not the original diptych we reproduce that is discussed, but a copy made by [Pierre Henri] Révoil [1776–1842] or according to his instructions.
Cf. Also, Histoire des Rues d'Aix [Les rues d'Aix : ou, Recherches historiques sur l'ancienne capitale de la Provence (1848)], by [Ambroise] Roux Alphéran [1776–1858] [OCLC 680430436 (all editions)]. However, there is a reason that seems compelling to us, and which M. Chazaud did not fail to partly highlight, by comparing the Matheron family’s diptych with the triptych from Aix: it is that the woman represented in the diptych has the same almond-shaped eyes as the undisputed and well-known Jeanne from the Aix triptych. Today, with the photogravures of both paintings in front of us, the slightest doubt is no longer possible.[5]



Photos

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  • Yves & Barret Maps

Maps

[edit]
  • Yves & Barret Maps
  • Carte de la Fraternité européenne [Map of European Brotherhood] (Yves & Barret, engravers, 1875).
    Carte de la Fraternité européenne [Map of European Brotherhood] (Yves & Barret, engravers, 1875).
  • Carte de la Fraternité européenne [Map of European Brotherhood] (Yves & Barret, engravers, 1875).
    Carte de la Fraternité européenne [Map of European Brotherhood] (Yves & Barret, engravers, 1875).
  • L'Europe en ce moment – fantaisie politico-géographique [Europe at the Moment – A Politico-Geographical Fantasy] (Yves & Barret, engravers, 1872).[I]
    L'Europe en ce moment – fantaisie politico-géographique [Europe at the Moment – A Politico-Geographical Fantasy] (Yves & Barret, engravers, 1872).[I]
  • Nouvelle Géographie du Pays du Tendre [New Geography of the Land of Tenderness] (1881).
    Nouvelle Géographie du Pays du Tendre [New Geography of the Land of Tenderness] (1881).
  • Nouvelle géographie du Pays du Tendre. — 2ᵐᵉ carte : Province du High-Life (voir la carte générale et le texte [New Geography of the Land of Tenderness. — 2nd Map: Province of High Life] (Yves & Barret, engravers, 1881).[II]
    Nouvelle géographie du Pays du Tendre. — 2ᵐᵉ carte : Province du High-Life (voir la carte générale et le texte [New Geography of the Land of Tenderness. — 2nd Map: Province of High Life] (Yves & Barret, engravers, 1881).[II]
  • Nouvelle carte de France, d'après les dernières découvertes des savants et des explorateurs — par A. Robida [New map of France, based on the latest discoveries by scholars and explorers — by Albert Robida].
    Nouvelle carte de France, d'après les dernières découvertes des savants et des explorateurs — par A. Robida [New map of France, based on the latest discoveries by scholars and explorers — by Albert Robida].
  • "Grand panorama de la bonne ville de Paris, peint à l'huile fine, par A. Robida" [Grand panorama of the fine city of Paris, painted in fine oil, by A. Robida"].
    "Grand panorama de la bonne ville de Paris, peint à l'huile fine, par A. Robida" [Grand panorama of the fine city of Paris, painted in fine oil, by A. Robida"].

Map notes

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This French satirical map, published in La Vie Parisienne, reflects an Anglo-American dispute stemming from the U.S. Civil War. At the time, the Confederate naval strategy involved attacking Union commercial ships, with some vessels being repurposed for this cause. However, an agent in Liverpool, James Dunwoody Bulloch (1823–1901), was also secretly overseeing the construction of two new warships for the Confederacy, violating both British law and the nation’s neutrality declaration. These ships, resembling Royal Navy gunboats with clear gun ports, were defended as lawful because they hadn’t yet been fitted with weapons.

Despite this defense, in March 1862, the first ship, Oreto, sailed to Nassau, where it was armed and renamed the CSS Florida. The second, a larger vessel, Enrica, left Liverpool for sea trials in July 1862—just as the British government decided to halt its delivery. The Enrica soon reached the Azores, where it was fully equipped and renamed the CSS Alabama. Over the next two years, the Florida and Alabama devastated Union shipping, with the Alabama alone capturing or destroying 69 vessels, and the Florida another 38.

After the war, in 1869, facing substantial debt, the U.S. demanded compensation from Britain for its involvement. Senator Charles Sumner (1811–1874), The Chairman of the Senate Foreign Relations Committee suggested a $2 billion payment or the cession of Canada. With rising tensions in Europe due to Germany’s growing power, Britain sought to improve relations with the U.S., leading to the 1871 arbitration tribunal known as the Alabama Claims. The U.S. was ultimately awarded $15.5 million —

  • equivalent to $33 billion today
  • [equivalent to $394,217,000 in 2023]
  • [$352 million].
    This map was published shortly after the announcement of the arbitration agreement.


  • * Black & White version published in: Marcelin (aka Émile Planat; 1829–1887) [in French], ed. (December 24, 1881). "Haute Bicherie – Basse Bicherie" [Fashionable Prostitution – Harlotry]. La Vie Parisienne (weekly). "Mœurs élégantes, choses du jour, fantaisies, voyages, théâtres-musique-beaux-arts, sport-modes" [Elegant manners, current affairs, fantasies, travels, theater-music-fine arts, sports-fashions] (in French). 19 (52): 748–749, 751.{{cite journal}}: CS1 maint: multiple names: editors list (link) CS1 maint: numeric names: editors list (link) Retrieved October 8, 2024. OCLC 6236763 (all editions) (journal); OCLC 953572701 (uncolored map).
    1. Via Gallica (BnF → Gallica). (Free Access)


Wikimedia Commons has media related to Category:Yves et Barret.

Illustrations notes

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  1. ^ "L'Europe en ce moment – fantaisie politico-géographique" [Europe at the Moment – A Politico-Geographical Fantasy] " ... is an 1872 Yves and Barret caricature map of Europe after the Franco-Prussian War. Coverage embraces all of Europe, from the Atlantic Ocean to the Caspian Sea and from Scandinavia and the Shetland Islands to the Mediterranean Sea. Illustrated personifications of each nation define the author's political viewports. Newly united Germany dominates Central Europe in the form of the Kaiser, who is sprawled across what the French must have considered to be an ominously large territory. He reclines against a cannon and artillery shells, accompanied by a gigantic sword and an empty beer stem - suggesting at once military power, belligerence, and instability. A much smaller German soldier is illustrated holding the puppet strings of several other European counties, including Italy, Spain, and Austria. France, which had Just lost the Franco-Prussian War, is represented as Marianne, the French national symbol, being tended by smaller officials and military men. The men are trying to get her to hold back her anger at having German guns pointed at her from Strasbourg (Alsace and Lorraine were annexed by Germany after the Franco-Prussian War) and to form a new government following the defeat, as well as the chaos of the Paris Commune. England is illustrated as a man in armor decorated with the Union Jack holding a book for a shield. He is surrounded by the Bible and bales of cotton. Spam, Italy, and Austria are depicted as contentedly going about their business, per the German soldier's wishes, but the Austrians are illustrated holding scissors, possibly to try to cut ties with the now overly powerful Germany. Russia is a frozen wasteland with then onion-domed churches and a land where everything happens 'because the czar wants it to be'. The Turks represented as a caricature of eastern decadence: a single man surrounded by elegantly dressed women attending to his every whim."
    Publication History and Census
    This map was engraved by Yves and Barret and published in the July 6, 1872, La Vie Parisienne. We are aware of two examples in institutional collections, the David Rumsey Map Collection at Stanford University and Persuasive Maps: the PJ Mode Collection at Cornell University. This map is incredibly rare on the private market.
    Cartographer
    Yves et Barret (fl. c. 1870–1890) were French engravers active m the late 19th century. They engraved political cartoons and other 1mages for French periodicals, including La Vie Parisienne. This partnership was known for creating works using gillotage, a now obsolete lithographic process wherein a drawing was made on or transferred to zinc and then dusted with resin, which adhered to the drawing. The resin then acted as an acid-resist when the entire plate was immersed in acid, creating a relief block that could then be inked and printed from. This printing technique was popular with newspapers, as it was completely

    (re-worded)
    "L'Europe en ce moment – fantaisie politico-géographique" ("Europe at the Moment – A Politico-Geographical Fantasy") is an 1872 satirical map of Europe by Yves and Barret, created in the aftermath of the Franco-Prussian War. The map presents a caricatured view of Europe, personifying each nation in line with the authors’ political perspectives. It covers the continent from the Atlantic Ocean to the Caspian Sea, and from Scandinavia and the Shetland Islands to the Mediterranean Sea.

    At the center, a newly unified Germany, represented by the Kaiser, dominates Central Europe. The Kaiser is shown lounging on a vast expanse of land that likely struck French audiences as threatening. He reclines against artillery—cannon and shells—surrounded by a large sword and an empty beer mug, symbolizing military strength, belligerence, and instability. A smaller German soldier manipulates puppet strings attached to other European countries, including Italy, Spain, and Austria, hinting at German influence over these nations.
    France, having recently been defeated in the Franco-Prussian War, is portrayed as Marianne, the personification of the French Republic. She is attended by smaller officials and soldiers attempting to calm her frustration, particularly at the German guns pointed at Strasbourg—representing the loss of Alsace and Lorraine to Germany. The scene also reflects the internal struggles France faced at the time, with efforts to rebuild the government following the war and the upheaval of the Paris Commune.
    England is depicted as a man clad in armor bearing the Union Jack, holding a book as a shield, with the Bible and bales of cotton surrounding him, symbolizing the country's economic and religious focus. Meanwhile, Spain, Italy, and Austria are shown going about their affairs as desired by the German soldier, though Austria holds a pair of scissors, perhaps indicating a desire to sever ties with an increasingly dominant Germany.
    Russia is presented as a frozen wasteland dotted with onion-domed (Russian: луковичная глава) churches, where all actions occur "because the czar wills it." The Ottoman Empire is represented by a figure embodying Eastern decadence—an Ottoman man attended by elegantly dressed women catering to his whims.
    This caricatured map offers a whimsical yet politically charged commentary on the balance of power in Europe following the Franco-Prussian War, reflecting contemporary fears and rivalries.

    Français: L'Europe — Cinquième partie du monde à laquelle les équilibristes font toujours perdre son équilibre. Très-menace en ce moment cet équilibre ! Comme toujours.

    English: Europe — The fifth part of the world, whose balance is constantly upset by tightrope walkers. This balance is very threatened at the moment! As always.
    (This passage humorously critiques the fragile state of political equilibrium in Europe, suggesting that those in charge of maintaining stability (the "tightrope walkers") are continuously destabilizing it. The remark, "the balance is always threatened", reflects the recurring state of tension and instability in European politics during that era.)
    Français: La Grèce — Pays de Périclès, de Socrate, de Platon, de Xénophon, de Sophocle et de Thémistocle ... Ils ont un roi venu du Danemark à cause de la conformité du langage et des mœurs ! C'est le troisième successeur de Codrus ; second nœud de la question d'Orient ! Ils recommencent leur histoire par Hercule et Thésée, qui purgèrent le pays de brigands. Dieu veuille qu'ils reviennent à Périclès ... nous en avons grand besoin.
    English: Greece — The country of Pericles, Socrates, Plato, Xenophon, Sophocles, and Themistocles ... They have a king from Denmark, due to the similarity in language and customs! He is the third successor of Codrus; the second knot in the Eastern Question! They are restarting their history with Hercules and Theseus, who rid the land of bandits. God willing, they will return to Pericles ... we are in great need of him.
    (This passage mixes humor and historical reference, highlighting Greece’s ancient cultural and philosophical legacy while satirizing the contemporary monarchy (King George I, originally from Denmark). It reflects on the Eastern Question, which involved the decline of the Ottoman Empire and the strategic interests of European powers in the region. The wish to "return to Pericles" invokes a desire for a return to the golden age of leadership and democracy.)
    Français: Le Danemark — Mur mitoyen avec la Prusse qui l'accuse d'empiétement ... et de troubler son eau.
    English: Denmark — A shared wall with Prussia, which accuses it of encroachment ... and of muddying its waters.
    (This passage seems to humorously reference the tensions between Denmark and Prussia, likely alluding to territorial disputes such as the Schleswig wars, where Prussia accused Denmark of overstepping its boundaries.)
    Français: La Prusse ... — C'est l'Allemagne maintenant — L'Allemagne – C'est la Prusse ... un peu la Bavière… tant soit peu le Wurtemberg ... la Saxe à demi ... Bade et les provinces rhénanes tout à fait ... et ce qui viendra… L'Allemagne c'est toute la terre, elle met 365 jours à faire sa révolution autour du soleil qui est allemand, elle a une lune qui est allemande ; M. Bismark lui en promet une autre. On y mange du civet de lièvre à la compote de fraises, ses vinaigres sont très estimés et remplacent avantageusement le vin.
    English: Prussia ... — It is now Germany — Germany is Prussia ... a little bit of Bavaria ... somewhat Württemberg ... half of Saxony ... Baden and the Rhineland provinces entirely ... and whatever else may come. Germany is the whole world; it takes 365 days to make its revolution around the sun, which is German, and it has a moon that is German; Bismark (1815–1898) promises it another. They eat hare stew with strawberry compote there, and their vinegars are highly esteemed, making an excellent substitute for wine.
    (This passage satirizes the dominance of Prussia within the newly unified Germany, underlining how the identity of "Germany" was largely subsumed by Prussian influence. It humorously exaggerates Germany's growing power under Bismarck, including a playful critique of German cuisine and its pragmatism, using vinegars instead of wine.)
    Français: La Russie — C'est aussi la Première Nation de l'Europe et du monde, puisque le czar le veut. Les Russes sont très-heureux, puisque le czar le veut, très civilisées, puisque le czar le veut ... et ils conquerront toute la terre, puisque le czar le veut, pour y répandre la civilisation et l'orthodoxie, puisque le czar le veut ...
    English: Russia — It is also the First Nation of Europe and the world, because the czar wills it. The Russians are very happy, because the czar wills it, very civilized, because the czar wills it ... and they will conquer the whole earth, because the czar wills it, to spread civilization and Orthodoxy, because the czar wills it ...
    (This passage uses irony to mock the autocratic power of the Russian Czar, Alexander II (ruled from 1855 until his assassination in 1881), suggesting that everything in Russia, from happiness to civilization and even conquest, happens solely because the czar desires it. It's a critique of the centralized and authoritarian rule in Russia at the time.) Russia is presented as a frozen wasteland dotted with onion-domed (Russian: луковичная глава) churches, where all actions occur "because the czar wills it." The Ottoman Empire is represented by a figure embodying Eastern decadence—an Ottoman man attended by elegantly dressed women catering to his whims.
    Français: L'Autriche – Empire de pièces et de morceaux mal joints, toujours occupé, à se recoudre et à se repriser. Quand la Bohême est bien ajustée, la Croatie se défile et la Slavonie subit un accroc ... et toujours la Gallicie se dénoue ... Ce n'est pas étonnant que ce soit le pays des quartiers : il en faut seize au moins pour entrer à la cour. On voit quelques Autrichiens à Vienne, mais ils y sont aussi rares que les Turcs à Constantinople ... L'Autriche est sur son déclin, dit-on ... Non ! c'est sa manière d'arriver ... par plan incliné.
    English: Austria — An empire of mismatched pieces and poorly joined fragments, always busy mending and patching itself up. When Bohemia is properly adjusted, Croatia slips away, Slavonia suffers a tear ... and Galicia is constantly coming undone. It’s no wonder this is the land of quarters: it takes at least sixteen to gain access to the court. You see a few Austrians in Vienna, but they are as rare as Turks in Constantinople ... They say Austria is in decline ... No! It's simply her way of arriving ... on a downward slope.
    (This passage uses satire to describe Austria as an empire struggling to hold together its diverse regions, highlighting its internal disunity and political complexity. The commentary on its "decline" being a gradual process hints at Austria's precarious position in Europe at the time.)
    Français: La Belgique — Les voisins de tout le monde, le refuge de tout le monde ... et qu'on a centralisée pour déversoir. Nation hongre ! et bien heureuse ! Toutes les passions leur étant interdites, elle vit tranquille. On y est convenu d'être catholique d'un côté et libéral de l'aure ... et on se jette les livres de messe par la tête. Histoire de s'amuser !
    La Hollande — C'est toujours Téniers, van Ostade, Potter, Ruysdaël, et le Schiedam, et la banque et les tulipes, et le lavage, et les arbres peints ... et un roi ... parce que dans une bonne maison il faut bien un roi.


    English: Belgium — Neighbors to everyone, a refuge for everyone ...0 and centralized to serve as an outlet. A gelded nation! And very happy! Forbidden from having any passions, they live peacefully. It's agreed to be Catholic on one side and liberal on the other ... and they throw hymn books at each other's heads. Just for fun!
    The Netherlands — It's still Teniers, van Ostade, Potter, Ruysdael, Schiedam, the bank, the tulips, the washing, the painted trees ... and a king ... because in a proper household, one must have a king.
    (This passage uses humor and satire to depict Belgium as a neutral, peaceful nation, with internal contradictions between its Catholic and liberal factions, while the Netherlands is portrayed as a stable, picturesque country with its art, trade, and monarchy.)
    Français: La Suisse — Le "ranz des vaches de la démocratie.
    English: Switzerland — The "Ranz des Vaches" [Cowherd Song]s call of democracy.
    (The phrase "ranz des vaches" refers to a traditional Swiss cowherd's song, often associated with the Swiss Alps. In this context, it's likely being used as a metaphor for Switzerland’s calm, steady, and perhaps pastoral democratic traditions. The simplicity of the image contrasts with the often turbulent political landscape of other nations.)
    Français: La France — Cherche depuis quinze mois un gouvernement parmi ses vieilles défroqués, aucun ne lui va ; tous sont trop grands, trop petits, trop étroits ou trop usés. On croit que par coquetterie elle prolonge son deuil qui lui sied à ravir et la fait plus grande !  Les autres nations qui s'apitoyaient sur elle, commencent à jaser et attendent avec anxiété ce que la France décidera, pour savoir ce qu'elles-mêmes deviendront.
    English: France — For the past fifteen months, she has been searching for a government among her old cast-offs, but none seem to fit; they are all either too big, too small, too narrow, or too worn. It is believed that, out of vanity, she prolongs her mourning, which suits her beautifully and makes her appear grander! The other nations, who once pitied her, are beginning to gossip and now anxiously await what France will decide, in order to know what their own fate will be.
    (This passage uses a metaphor to describe France's political difficulties following the Franco-Prussian War, with an emphasis on the nation's uncertain future and its influence on the rest of Europe)
    English: England – She too is the first nation of the world, thanks to cotton. Friend of the strong, provided they are very strong, protectress of the weak, provided they are very weak. Cash wars, civilization with discount. Revolutions abroad are dealt with over-the-counter on the basis of free trade. Separated from France by The Times and the Channel.
    Français: L'Angleterre – Elle aussi est la Première Nation du monde, de par le coton. Amie des forts, pourvu qu'ils soient très-forts, protectrice des faibles, pourvu qu'ls soient très-faibles. Guerres au comptant, civilisation avec escompte. On y traite de gré à gré pour les révolutions au dehors sur la base du libre échange. Séparée de la France par le Times et la Manche.
    English: England — She, too, is the First Nation of the world, thanks to cotton. Friend of the strong, provided they are very strong; protector of the weak, provided they are very weak. Wars paid in cash, civilization at a discount. She negotiates revolutions abroad on the basis of free trade. Separated from France by The Times and the English Channel.
    ("This passage satirizes England's imperial and economic power, particularly its role in global trade, diplomacy, and conflict during the 19th century. It highlights England's pragmatic approach to international relations, emphasizing support for the strong and weak only when it benefits England. The mention of "wars paid in cash" and "civilization at a discount" mocks England's transactional approach to both warfare and its perceived mission to spread civilization. The reference to being "separated from France by the Times and the Channel" adds a humorous touch, suggesting that English media and geographical separation reinforce a divide between the two nations.)
    Français: L'Espagne – Toujours les castagnettes militaires et le fandango des guerres civiles. Les prétendants y jouent aux quatre coins, les républicains sont les banderillos ; dans cette course de taureaux, ils agitent de petits drapeaux rouges ... et se sauvent. On y change plus souvent de rois que de linge. Grand peuple constitué en guerre civile ! Les conservateurs s'y nomment guérilleros et descendent de Pélasge.
    English: Spain – Always the military castanets and the fandango of civil wars. The pretenders play at the four corners, while the republicans act as the banderilleros; in this bullfight, they wave small red flags ... and then flee. They change kings more often than their clothes. A great nation made up of civil war! The conservatives call themselves guerrilleros and claim descent from Pelasgians.
    Français: La Turquie — Une loque bigarrée sur laquelle tout le monde tire et dont les morceaux restent à la main. L'intégrité de l'empire ottoman ! c'est la formule consacrée ! Encore une nécessité du fameux équilibre ! Et l'intégrité des fonctionnaires ! ... Corollaire : la meilleure condition de stabilité pour un pouvoir, c'est la mort.
    English: Turkey — A patchwork rag that everyone is pulling at, with pieces left in their hands. The integrity of the Ottoman Empire! That’s the established formula! Yet another necessity for the so-called balance of power! And the integrity of the officials! ... Corollary: the best condition for stability in a government is death.
    (This passage uses sharp satire to criticize the weakened state of the Ottoman Empire, often referred to as the "Sick Man of Europe" during the 19th century. It mocks the concept of maintaining the empire's "integrity" for the sake of European balance of power while hinting at corruption among officials. The final line suggests that true stability in such a regime only comes with its end.)
    Français: L'Italie — Selon M. Farini, la première nation d'Europe, au moins par ancienneté, M. Crispi est du même avis pour de plus sérieux motifs. Elle a l'univers à revendiquer et soyez-surs qu'elle le fera un jour ou l'autre ... et que cette fois la France ne sera pas assez ingrate pour oublier qu'elle fut conquise par Jules César ... Il n'est donc pas étonnant que la Prusse la caresse et qu'elle caresse la Prusse… entre maitres du monde!!!
    English: Italy — According to Mr. Farini, the first nation of Europe, at least in terms of antiquity, and Mr. Crispi shares this opinion, for more serious reasons. She has the entire world to reclaim, and rest assured, she will do so sooner or later ... and this time France will not be ungrateful enough to forget that it was conquered by Julius Caesar ... It is therefore no surprise that Prussia flatters her and she flatters Prussia ... among the masters of the world!!!
    (This passage humorously emphasizes Italy’s historical significance, referencing its ancient Roman legacy. It satirizes the nationalist rhetoric of the time, highlighting Italy’s ambition to reclaim global influence, and also mocks the diplomatic relationships, particularly with Prussia, implying a mutual recognition of grandeur between these "masters of the world.")

    Spain

    1. "Programme saison d'été 1872" [Summer season program 1872]
    2. "Rassemblémentados"
    3. "Boléros"
    4. "Mientos" [Mysteries]
    5. "Pronuncia"
    6. "Baladas dans les montagnes" [Walks in the mountains]
    7. "Viva Carlos"
    8. "Vale Fandango" ["okay" or "all right" (colloquially) Fandango]
    The above key words in the Spain section of the map satirically references cultural elements of 1872, like boleros and fandangos, along with some commentary on political figures or events.
    "Viva Carlos" likely refers to supporters of Don Carlos during the Carlist Wars.
    "Rassemblémentados" seems to be a playful fusion of "rassemblement" (gathering) and "-ados" (perhaps suggesting adolescents, though contextually it seems to be referring to gatherings).
    "Mientos" may be a shortened or whimsical word related to Spanish terms like "movimientos."
    "Vale Fandango" might be sarcastically mocking (or celebrating) Spain's culture during a time of political upheaval.
  2. ^ The satirical map Nouvelle géographie du Pays du Tendre – Province du High-Life satires upper-class lifestyle in late 19th-century France. It parodies the original 17th-century allegorical map of courtly love, Le Pays du Tendre, by highlighting the superficiality and excess of bourgeois society. The map exaggerates their focus on leisure activities like balls, cabarets, yachting, and intellectual gatherings, while poking fun at their romantic pursuits, vanity, and obsession with social status. Through this lens, it mocks the trivial and materialistic habits of the high society, presenting love and social life as frivolous, performative, and detached from genuine virtue or meaning.
Cite error: A list-defined reference named "FOOTNOTEGeographicus. "Description",1872" is not used in the content (see the help page).

New article

[edit]
Pen Drawing Versus Etching
Joseph Pennell (1857–1926)
January 8, 1890

MR. [Philip Gilbert] HAMERTON, writing in the P.M.G. of December 30, has criticized certain tendencies in my book on pen drawing.[6] But before attempting to answer him, I must say that to be criticized by him is an honor, for it must be universally acknowledged that be is almost the only man now writing on current art whose opinions are based upon practical and technical knowledge, and whose conclusions therefore carry any weight, and though I may not in this case agree with Mr. Hamerton, I at any rate feel it my duty to show good reasons for my disagreement. He implies that l have not given sufficient credit to the "able artists" who etch the plates called photogravures from pen drawings. Considering that I devoted six pages to a list of illustrations which gave prominence to the names of the engravers whenever I was certain who made the plates; considering that I have devoted a whole chapter to the reproduction of pen drawings, and all through the book have praised the work of artists like Amand-Durand [Charles Amand-Durand (1869–1905) Wikidata Q27091481], who does far the best work in what is commonly known as photogravure; that I have repeatedly and most emphatically commended such photo-etchers as Louis Chefdeville, Yves et Barret, A and C. Dawson, the [Charles Lennox] Wright [(1852–1901)] Gravure Company,[7] and many others; I really fail to see how Mr. Hamerton can imply that I have not given these men sufficient credit. But when Mr. Hamerton takes up your reviewer's statement (and by the way your review of my book and that of the Scots Observer are the only ones I have yet seen worth serious consideration) that

"Thanks to the invention of photo-engraving pen drawing takes the place of etching," and says – "what are commonly called photo-gravures from pen drawings are, in fact, etchings done by skilled specialists. Photography only serves the intermediate purpose of transferring the drawing to the copper (or bronze); it does not attack the metal. This is done afterwards by a skilled etcher, who bites the plate much in the old-fashioned way."

I must beg leave to differ altogether from him. There is no reason why the drawing should he photographed on to the copper or bronze; it may be grown by electro-deposition, or it may find itself on the plate in one of a number of other ways, all of which are described in Mr. H. [Henry] Trueman [Wright] Wood's Modern Methods of Illustrating Books. But let us suppose that the system employed is, as Mr. Hamerton says, that of photographing the drawing directly on the copper or bronze, the method, I believe (although the process is supposed to be a secret), of Amand-Durand and Dujardin, and that it is then bitten, much in the old-fashioned way; the real difficulty of etching has been entirely overcome. The auto-graphic etcher not only has to make his drawing on the copper plate, but he has to arrange every line on it so that when the plate is bitten and the strongest lines enlarged by the biting, the printed proof will render, not the drawing, which the artist makes with a needle on the plate, but the result he intends it shall print. On the contrary, the photo-etcher merely must reproduce perfectly in the copper the finished drawing supplied him by the artist. The drawing is photographed on the plate, and he is thus saved the enormous drudgery of reversing it. He only has to bite the lines as they appear in the drawing now photographed on the plate, with the original drawing by his side to guide him-a very simple matter, I say a very simple matter, though only a skilled specialist can do it, but he does it every time. Of course if the lines are not of the required depth be may have to rebite the plate, but this presents no difficulty to him; to the autographic etcher working in the old-fashioned way it is one of the most tedious and dangerous of operations. Therefore, I cannot agree with Mr. Hamerton that it would be perfectly" legitimate to call these photogravures etchings, even though it were understood that the drawing was due to the draughtsman and the biting to the engraver." The photo-etcher must have artistic feeling-he must understand the drawing; but the probability is he could neither make the drawing himself nor even transfer it to the plate without mechanical aid. Nor can I grant the "able artists" who produce these plates an equal rank with the autographic etcher, who reproduces another man's work by his own skill and no scientific props.

In fact, there is every reason to keep on calling these plates photogravures and not etchings-able specialists as the men are who produce them, Their art is essentially different from that of the autographic etcher. And the calling of these plates etchings is a deception. So too is it a deception for the draughtsman to call his drawings etchings when reproduced in this manner, even though he or the photo-etcher may work on the plate.

The results of etching and photogravure are equally good, and to the artist equally valuable, and at their best, it is almost impossible to distinguish them. I hope Mr. Hamerton will not object to my calling these points to his attention, because I know he has as much love for etching and pen drawing as I have; but from not living in London be escapes seeing all the disgusting tricks of the trade, to some of which his letter unintentionally may give encouragement.[8]

Another article

[edit]

THE WHISTLER JOURNAL Tallant's in Mayfair was not far from Heinemann s house in Norfolk Street. In it one was conscious of what Whistler described as the "lovely respectability of the British family hotel." This autumn Whistler was so extremely worried about his health that only occasionally was he in really good form, only occasionally did he talk in the old fashion. The Journal from this time on, is more than ever the record of his health which it had begun to be the year before.

Wednesday, November 13th. Whistler and the Janviers came to dinner. Whistler made a captive of Mrs. Janvier to whom he told his story of the Roman cake in Corsica, so that after dinner she literally got him in a corner by the fire, while I talked to Janvier and Chefdeville who came in with his son. Whistler had arrived, to his horror, in a little rain that began suddenly as he was on his way here from Charing-Cross Station, and Augustine had taken him in the dining room and helped him off with his shoes and lent him her slippers which, for fear he might mind, she said were Joseph s. And in her slippers, with anything but "dandy" feet he spent the rest of the evening.

Louis Chefdeville was a most interesting French artist who, in the early Eighties, took up photo-engraving and made, during his life time, which was a stormy one, some of the most interesting line and half-tone blocks ever printed in France and England. He did a great deal, especially in England where he lived for years and until his death, to advance the art of photo-engraving.

Bibliography

[edit]

Annotations

[edit]
  1. ^ La Revue comique des théâtres et concerts [The Comic Review of Theaters and Concerts] was a French illustrated satirical weekly that ran only ten issues – from October 15, 1871, to December 17. For the 1878 publication, Charles Lamour was Editor-in-Chief (Rédacteur en chef) and A. Biron was Manager (Gérant). OCLC 457073088, 472688258.

Notes

[edit]
  1. ^ Yves & Barret, June 1, 1878.
  2. ^ Geographicus.
  3. ^ Wakeman, 1973, p. 131.
  4. ^ a b c d Le Jugement Dernier, October 1877.
  5. ^ Hucher (Footnote 1), July 1879, p. 143.
  6. ^ Pennell, 1889.
  7. ^ Charles Lennox Wright II.
  8. ^ Pennell, January 8, 1890, p. 2.

References

[edit]
    1. Gallica (BnF Gallica). Free access icon
A portfolio containing 25 etchings by Eliezer Levi Montefiore (1820–1894), based on drawings by Eugène Fromentin (1820–1876), depicting figures and scenes from North Africa. The title page features an etching of a woman from the Ouled Naïl people, resting her left arm on a plinth inscribed with the work's title. Included is a letterpress list of etchings, detailing the collectors of the original works, as well as a comprehensive list of Fromentin's contributions to the Salons (1847–1876). An accompanying essay provides a critical analysis of Fromentin’s drawings, enriched by photomechanical reproductions of his sketches.



  • Black & White version published in: Marcelin (aka Émile Planat; 1829–1887) [in French], ed. (December 24, 1881). "Haute Bicherie – Basse Bicherie" [Fashionable Prostitution – Harlotry]. La Vie Parisienne (weekly). "Mœurs élégantes, choses du jour, fantaisies, voyages, théâtres-musique-beaux-arts, sport-modes" [Elegant manners, current affairs, fantasies, travels, theater-music-fine arts, sports-fashions] (in French). 19 (52): 748–749, 751.{{cite journal}}: CS1 maint: multiple names: editors list (link) CS1 maint: numeric names: editors list (link) Retrieved October 8, 2024. OCLC 6236763 (all editions) (journal); OCLC 953572701 (uncolored map).
    1. Via Gallica (BnF → Gallica). (Free Access)



    1. Gallica (BnF Gallica). Free access icon


  • Journal des débats politiques et littéraires [Journal of Political and Literary Debates]. December 29, 1885.
    1. LCCN sn93-21697
    2. LCCN sn93-21694
    3. LCCN sn93-21725<'li>
    4. OCLC 29530214 (all editions)
Main article: Journal des débats


  • Hucher, Eugène (1814–1889) [in French] (July–December 1879). "Iconographie du Roi René, de Jeanne de Laval, sa seconde femme et de divers autres princes de la maison d'Anjou" [Iconography of King René, of Jeanne de Laval, His Second Wife, and of Various Other Princes of the House of Anjou]. Footnote 1 (page 143) in Revue Historique et Archéologique du Maine. Année 1879 ; – Second Semestre [1979 – Second Half] (in French). Vol. 6. Benjamin Heurtebize (1796–1867) (Wikidata Q123343767) – Rédacteur en chef fondateur décédé [Founding Editor-in-Chief, Deceased]. Le Mans: Société historique et archéologique du Maine. Mamers: G. Fleury & A. Dangin, imprimeurs → Gabriel Fleury (1848–1926) and his brother-in-law, Albert Ladislas Dangin (1843–1912). Le Mans: Pellechat, librairie-éditeur → François-René Pellechat (c. 1833–1896). pp. 125–150.{{cite book}}: CS1 maint: numeric names: authors list (link) Retrieved October 5, 2024.
    1. LCCN ca09-650 (Revue).
    2. ISSN 1158-3371 (Revue).
    3. OCLC 1640833 (all editions) (Revue).
    4. BnF 57272945 (article).
    5. OCLC 11286352 (all editions) (article).
    1. Via Internet Archive (University of Michigan). Free access icon
    2. Via HathiTrust (Cal Berkeley). Free access icon
    3. Via Google Books (University of Michigan). Free access icon
Charles Lennox Wright, Sr. (1852-1901), founded the C.L. Wright Zincogravure Company in 1885 in Manhattan. Charles Lennox Wright II (1876–1966) joined the business in 1897 but had a stronger passion for painting. After his father's death in 1901, the company ceased operations by 1905. Charles, Sr., was a grandson of Charles Cushing Wright (1796–1857), engraver, medalist, and founding member of the National Academy of Design.
  • "The Scots Observer". April 5, 1890.
  • "The Scots Observer". April 19, 1890.
    1. Via Internet Archive (Kansas City Public Library). Retrieved October 5, 2024. Free access icon
    2. Via Google Books (NYPL). Retrieved October 5, 2024. Free access icon
    1. Via Internet Archive (Cornell). Free access icon
    1. Via Internet Archive. Retrieved October 5, 2024.


  • Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy]. By André Gill (d'après Michel Ange). Paris: Chez H. Fenoux, librairie-éditeur, 20, rue du Croissant. Paris. Imprimerie F. Debons et Cⁱᵉ, 16, rue du Croissant. Et chez tous les libraires marchands de journaux.{{cite book}}: CS1 maint: others (link)

Main article: Léon Gambetta (1838–1882)
Main article: Siege of Paris (1870–1871)
Maroon stamped imprint: "Legs Quentin Bauchart 1911" [Bequest of Quentin Bauchart] → Alexandre Quentin Bauchart (1809–1887).

Titre – Français Le ballon 'l'Armand barbès' (capitaine Erichet) parti de Paris le 7 octobre 1870, monté par Messieurs Gambetta et Spuller, se trouve accroché à un chêne à 2 lieues dans le bois de Farvieni (sic).

Description – Français: "Organisé par voie des témoignages fournis à l’issue de l’embuscade que fit Deny vers se dénommer M. W. de Fonvielle, français puis familier d’après épice le 16 juin 1859 du récit chez ceux qui étaient à Lille (recherche sur une des posters de Gambetta). 'L'Armand barbès' étant le cinquième ballon sorti de Paris pendant le siège."

Translation: Organized based on the testimonies provided following the ambush set by Deny towards a certain Mr. Wilfrid de Fonvielle (1824–1914), a Frenchman who later became familiar according to the account of June 16, 1859, from the story of those who were in Lille (research on one of the posters of Gambetta). 'L'Armand barbès' was the fifth balloon to leave Paris during the siege."

There are a few parts of the original text that seem unclear or possibly erroneous, such as "d’après épice" and the context around "Mr. W. W. Favetelli." These may be transcription errors or idiosyncrasies in the text.


      Main article: Henri de Lacaze-Duthiers (1821–1901)
      Lucien Joliet (1854–1887)
    1. "Lettre 4 – 17 avril 1877" ["Letter 4: April 17, 1877"]. Footnote 8: "Adresse de l’imprimerie de Yves & Barret, 6 rue Thévenot (actuelle rue Réaumur), Paris 3ème" [8 Address of the Yves & Barret printing house, 6 Thévenot Street (now called Réaumur Street), 3rd arrondissement of Paris].
    2. "Lettre 59 – 11 octobre Paris (non datée mais certifiée)" ["Letter 59: October 11, 1877; Paris (undated but certified)"]. Footnote 161: "Adresse de l’imprimerie de Yves & Barret, 6 rue Thévenot (actuelle rue Réaumur), Paris 3ème" [8 Address of the Yves & Barret printing house, 6 Thévenot Street (now called Réaumur Street), 3rd arrondissement of Paris].
    3. "Lettre 59 – 11 octobre Paris (non datée mais certifiée)" ["Letter 59: October 11, 1877; Paris (undated but certified)"]. Footnote 163: "Yves & Barret, graveurs associés, inventeurs d’un procédé de reproduction phototypographique" [163 Yves & Barret, associated engravers, inventors of a phototypographic reproduction process].
    4. "Lettre 61 – 25 octobre Nogent" ["Letter 61: October 25, 1877; Nogent"]. Footnote 165: "Joliet espère toujours refaire ses dessins au crayon et en avoir des clichés, chez Yves et Barret, rue Thévenot. Voir lettre du 16 octobre [Joliet still hopes to redo his pencil drawings and have them reproduced at Yves and Barret, on Thévenot Street. See the letter from October 16].


Alfred Girardin was the designer of the catalogue of the 1878 Paris Exhibition. Invoices for photos by Girardin for objects listed in the catalogue of the 1878 Paris Exhibition.
Hot lead typesetting: Yves and Barret, 1st class gold medal at the international congress of geographical sciences [International Congress of Geographical Sciences] 1875. Photogravure, chemical relief engraving for typography, 6, rue Thévenot (now rue Réaumur) near rue St Denis; addressed Isaac Strauss, 23 r. de Gramont.
Timbre fiscal [tax stamp] → Timbres bleus de quittance [blue receipt stamps]. Fea­tures a central oval design framing the 10 centimes denomination, with ornate curly-cues in each corner and decorative borders on all sides. The stamp is in portrait orientation, with the top labeled "Quit­tan­ces reçues" [receipts received] and the bottom labeled "Et décharges" [and discharges].
    1. Mar. 2, 1878: 1 photo: vase.
      1. 15 fr.
      2. Tax stamp: 10 centimes.
      3. Red stamped imprint: "For Acquisition"
      4. Signature
    2. Jan. 18, 1878: 1 photo: antique piece of furniture.
      1. 30.20 fr.
    3. 29? 1877: 1 photo: art objects, Girardin fabric.
      1. Tax stamp affixed: 10 centimes
      2. Red imprint: "For Acquisition"
      3. 39.90 fr.
      4. Signature.
    4. Aug. 20, 1877: 1 photo: Girardin illustration.
      1. 28.05 fr.
                        1 photo:"     ".
      1. 34.20 fr.
      2. 62.25 fr. (total)
      3. Tax stamp affixed: 10 centimes
      4. Red imprint: "For Acquisition"
      5. Signature.
    5. Aug. 3, 1877: 1 photo: Girardin; 17 × 9 cm (3.5 in).
      1. 22.95 fr.
      2. Tax stamp affixed: 10 centimes
      3. Red imprint: "For Acquisition"
      4. Signature.
    6. Aug. 2, 1877: 1 photo: furniture; 20 × 13 cm (5.1 in).
      1. 33 fr.
      2. Tax stamp affixed: 10 centimes
      3. Red imprint: "For Acquisition"
      4. Signature.
    7. Jul. 26, 1877: 1 photo: (Girardin) scepters, photo.
      1. 24 fr.
      2. Tax stamp affixed: 10 centimes
      3. Red imprint: "For Acquisition"
      4. Signature.
    8. Jul. 12, 1877: 1 photo: Girardin illustration, 13 × 16 cm (6.3 in).
      1. 31.20 fr.
      2. Tax stamp affixed: 10 centimes
      3. Red imprint: "For Acquisition"
      4. Signature.
    9. Jun. 29, 1877: 1 photo: drawing by Girardin.
      1. 31.31 fr.
      2. Tax stamp affixed: 10 centimes
      3. Red imprint: "For Acquisition"
      4. Signature.
    10. Jun. 1, 1877: 1 photo: piece of furniture, 19 × 11 cm (4.3 in).
      1. 31.31 fr.
      2. Tax stamp affixed: 10 centimes
      3. Red imprint: "For Acquisition"
      4. Signature.
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