Villon 'La Parisienne, tournée à droite'
       
     
Villon 'La Ferme de la Bendelière'
       
     
Villon 'Pour un Projet sensationnel (d'abord appelé) le Secret'
       
     
Villon 'La Parisienne, tournée à droite'
       
     
Villon 'La Parisienne, tournée à droite'

Jacques Villon (1875 - 1963)

La Parisienne, tournée à droite (première planche)

Etching, softground etching and colour aquatint, 1902
Ginestet et Pouillon E 074

Our impression is similar to Ginestet and Pouillon's definitive state.

Provenance

Louis Carré (1897-1977), by descent.  Louis Carré, who had galleries in both New York and Paris, was Villon's dealer for many years.  He organised one of the first major exhibitions of Villon's graphic works in Paris in 1954, and also exhibited Villon's paintings and drawings.  He kept many fine working proofs, which passed into his estate.

Note

According to Brodie (see note below), the impressions of this state as recorded in Ginestet and Pouillon are actually printed from a different set of plates than 'La Parisienne', Ginestet and Pouillon E 74, and should therefore be considered a different subject. Brodie titles this "new" subject 'La Nouvelle Parisienne'. Our impression is similar to the National Gallery, Washington's 'La Nouvelle Parisienne', illustrated in 'The Unfinished Print', p. 74.

Printed from multiple plates.

Signed in pencil and inscribed 'Etat'.

Working on a set of ten impressions of 'La Parisienne' belonging to the National Gallery of Art, Washington, Judith Brodie has investigated the development of this subject. Her main findings published in 'The Metamorphosis of Jacques Villon's La Parisienne' in 'The Unfinished Print', National Gallery of Art, Washington, 2001, pp. 72-82 are as follows:
- contrary to Ginestet and Pouillon, she believes that 'La Parisienne' was not published in an edition, and that the so-called "état définitif" is in fact another subject pulled from different plates than those used for "La Parisienne". Consequently, she renames the published edition 'La Nouvelle Parisienne'; and
- the establishment of a new chronological ordering of the National Gallery's impressions.

Furthermore, Brodie shows that the National Gallery's impressions are guided not by the notion of finality and edition-making, but rather by experimentation, for instance in colour, and the concept of uniqueness. Indeed, she argues that there is no definitive state, no published edition, and no attempt to create uniform images.

'La Parisienne' is a pivotal work in Villon's career as it departs from the nineteenth century Belle Epoque toward a more modern, twentieth century aesthetic. 

The sitter for La Parisienne was Yvonne Rever-chon Bon, the sister of the artist Jacques Bon. Yvonne married the brother of Villon in 1903, shortly after Villon began to work on La Parisienne.

Image Size : 46.2 x 34.0 cm (18.19 x 13.39 in) 
Sheet Size : 64.0 x 48.9 cm (25.2 x 19.25 in) 

£3,150

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Villon 'La Ferme de la Bendelière'
       
     
Villon 'La Ferme de la Bendelière'

Jacques Villon (1875 - 1963)

La Ferme de la Bendelière

Etching and colour aquatint, 1905
Ginestet and Pouillon E 138, second state of two

A proof outside the edition of fifty.

Signed in pencil. 

Image size : 46.7 x 58.0 cm (18.39 x 22.83 in) 
Sheet size : 48.0 x 60.0 cm (18.9 x 23.62 in) 

£400

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Villon 'Pour un Projet sensationnel (d'abord appelé) le Secret'
       
     
Villon 'Pour un Projet sensationnel (d'abord appelé) le Secret'

Jacques Villon (1875 - 1963)

Pour un Projet sensationnel (d'abord appelé) le Secret

Drypoint, 1904
Ginestet and Pouillon E 106

Ginestet and Pouillon's only described state (actually third state of three). A working proof before the edition of thirty.

Signed in pencil and inscribed 'Essai'.

Watermark : MB.

Ginestet and Pouillon describe only one state, but there are at least three distinct states:
- first state: the figures are outlined in pure drypoint;
- second state: additional drypoint shading added to the two central figures, but not to any of the outlying figures; and
- third state: additional drypoint shading added to the outlying figures. 
 

Provenance

Louis Carré (1897-1977), by descent.  Louis Carré, who had galleries in both New York and Paris, was Villon's dealer for many years.  He organised one of the first major exhibitions of Villon's graphic works in Paris in 1954, and also exhibited Villon's paintings and drawings.  He kept many fine working proofs, which passed into his estate.


Note
The sitters were Villon's sisters, Suzanne and Yvonne at the Tréport beach. 

Image size : 39.5 x 29.7 cm (15.55 x 11.69 in) 
Sheet size : 55.0 x 36.0 cm (21.65 x 14.17 in) 

£1,460

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