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Messe en Bretagne (Mass in Brittany)
2022.PR.19
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Title: Messe en Bretagne (Mass in Brittany)
Date (inclusive): [ca. 1900-1910]
Number: 2022.PR.19
Creator/Collector:
Dezaunay, Emile,
1854-1938
Physical Description:
12 prints
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
Business Number: (310) 440-7390
Fax Number: (310) 440-7780
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: The twelve sheets are working proofs of
Dezaunay's etching Messe en Bretagne (Mass in Brittany), which document the
process of color printmaking using multiple plates. Included are impressions with notations
by the publisher, Edmond Sagot, and by the printer, Eugène Delâtre, as well as proofs from
each color plate and proofs from the canceled plates.
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Language: Collection material is in
French.
The French painter and printmaker Émile (Émile-Alfred-Marie) Dezaunay was born in Nantes in
1854 into a family of wealthy merchants. His mother was a first cousin of the writer, Jules
Verne. He studied at the École des Beaux-Arts in Paris under Jules-Élie Delaunay, a painter
from Nantes, and under Pierre Puvis de Chavannes. While in Paris, he was initiated to
printmaking by Eugène Delâtre. In 1890 he traveled to Pont-Aven with a friend, Maxime
Maufra, where they met Paul Gauguin who had a profound influence on their work. Beginning in
1892, he frequented other artists at Maufra's studio at the Bateau Lavoir in Montmartre and
later became one of the founding members of the Salon d'Automne. After 1909, he returned to
Nantes and lived there until his death in 1938.
The French printmaker and printer Eugène Delâtre, the son of the printer Auguste Delâtre,
issued prints by Félix Bracquemond, Auguste Brouet, Paul Gauguin, Henri de Toulouse-
Lautrec, Théophile-Alexandre Steinlen, and Pablo Picasso. He played a fundamental role in
the development of color etching in late 19th-century France. He used several methods to
produce color prints, the
à la poupée method in which inks of different
colors are applied on a plate using a ball-shaped wad of cloth, and color etching
au
repérage
using multiple plates.
Open for use by qualified researchers.
Contact
Library Reproductions
and Permissions
.
Émile Dezaunay,
Messe en Bretagne (Mass in Brittany), [ca. 1900-1910], The
Getty Research Institute, Los Angeles, Accession no. 2022.PR.19.
http://hdl.handle.net/10020/cifa2022pr19
Acquired in 2022.
Karen Meyer-Roux wrote this finding aid in September 2022.
The prints were digitized in 2022 and the images are available online:
http://hdl.handle.net/10020/2022pr19
Impressions of Dezaunay's
Messe en Bretagne (Mass in Brittany), are at:
Musée départemental, Breton, Quimper, no. 2016.6.1
Zimmerli Art Museum, Rutgers, no. 83.010.063
Relating to the 1898 sale of Dezaunay's works, see:
Catalogue des tableaux,
aquarelles, dessins par E. Dezaunay
. Préface d'Arsène Alexandre. Paris, Hôtel
Drouot, 25 mars 1898. The preface of the catalogue also gives a lively report of Dezaunay's
personality.
Works engraved, printed, or formerly owned by Eugène Delâtre, which are held at the Getty
Research Institute, include:
Eugène Delâtre,
[Autoportrait dans l'atelier], ca. 1894, Accession no.
2005.PR.29
Eugène Delâtre,
[At the Café-Concert], ca. 1895, Accession no. 2012.PR.8
Das Mappenwerk der Insel herausgegeben von Otto Julius Bierbaum, Alfred Walter
Heymel und Rudolf Alexander Schröder
, 1900. Accession no. 2008.PR.22
Auguste Brouet,
L'amateur, [1896], Accession no. 2013.PR.7, 2013.PR.8,
2013.PR.9
Paul Gauguin,
[La femme aux figues], 1899, Accession no. 2011.PR.31
Théophile-Alexandre Steinlen,
[Gare de l'Est], [1916-1917], Accession no.
2007.PR.33
Théophile-Alexandre Steinlen,
[Soldiers in a Trench], [ca. 1917], Accession
no. 2007.PR.34
De l'Yser au Vieil Armand : dix eaux-fortes originales par L. Grandgérard.
Paris: Imprimerie E. Delâtre, 1916. Accession no. 2008.PR.25
The records of the publisher Edmond Sagot are at the INHA in Paris:
Fonds galerie Sagot-Le Garrec, INHA, Archives 086.
Letters or works published by Edmond Sagot, which are held at the Getty Research Institute,
include:
Félix Bracquemond,
L'arc-en-ciel (The Rainbow), 1893-1897, Accession no.
2012.PR.24
Helleu, Paul,
Ed. Sagot estampes et affiches illustrées 39 bis rue de Châteaudun,
Paris,
, Accession no. 2001.PR.35
Alphonse-François Lotz-Brissonneau,
L'œuvre gravé de Auguste Lepère. Paris :
E. Sagot, 1905, ID no. 1560-628
Alphonse-François Lotz-Brissonneau,
Nomenclature des gravures sur bois, eaux-fortes
et lithographies exécutées à ce jour par J.-E. Laboureur
, Nantes ; Paris : Chez
Sagot, 1909, ID no. 90-B5220
Edmond Sagot letter to Clément-Janin, 1911 in: Clément-Janin letters received, 1904-1952,
Accession no. 860786.
The collection was digitized in 2022 and the images are available online:
http://hdl.handle.net/10020/2022pr19
Scope and Content of Collection
Messe en Bretagne (Mass in Brittany) takes place in front of a small church
and within the gates of a cemetery. Lively colors and the blue sky suggest warm weather.
Women wearing the traditional headdress "Giz Fouen" are seated on a bench, their heads
lowered, and their backs turned to the viewer. In the background, at left, two women stand
in front of the side door of the church.
The print was based on a watercolor and gouache made by Dezaunay. The twelve working proofs
include impressions with notations by the publisher, Edmond Sagot, and by the printer,
Eugène Delâtre, as well as proofs from each color plate and proofs from the canceled plates.
In one impression from four plates in four colors, there are numerous instructions for the
printer, Eugène Delâtre, regarding the color inks. One sheet is a proof before steel facing,
another is identified as "Bon à tirer," meaning ready to be printed. In one proof, the
printer lists the total number of impressions made from the four plates. The set includes
cancellation proofs, a guarantee that no further impressions could be pulled from the
plates.
The working proofs belonged to Edmond Sagot and then to his successor, the firm Sagot-Le
Garrec, Paris, whose name is derived from the marriage of Sagot's daughter to Maurice Le
Garrec. Later the proofs were acquired by the Galerie Arsène Bonafous-Murat, Paris, and then
by Didier Martinez Estampes, Paris.
Sources consulted:
Musée départemental, Breton, Quimper, no. 2016.6.1
Grivel, Marianne et al.,
De Pissarro à Picasso : l'eau-forte en couleurs en
France
, no. 79
The first four proofs are annotated by the publisher, Edmond Sagot, or by the printer,
Eugène Delâtre. The other proofs are impressions made from three, two, or one plate.
Clothing and dress -- France -- Brittany
Piety
Prints -- Technique
Women -- France -- Brittany
Brittany (France) -- Social life and customs
Prints (visual works) -- France -- 20th century
Color prints (prints) -- France -- 20th century
Printers' proofs -- France -- 20th century
Dezaunay, Emile,
1854-1938
Delâtre, Eugène,
1864-1938
Sagot, Edmond,
1857-1917