L'Hiver
Paris: Sarazin, 1865. Etching with engraving on Chine collé mounted to wove paper with a false platemark, 3 5/8 x 6 inches (92 x 152 mm); matrix 12 1/4 x 16 3/4 inches (312 x 425 mm), full margins. With the Pieter Willem Van Doorne collector's stamp in brown ink on the verso (Lugt 4731). With scattered pencil inscriptions in the margins.
Born in Paris in May of 1813, little is known about the early personal life of Charles-Émile Jacque. It is known however, that he began his artistic pursuits in a nontraditional way, having trained as an etcher before having trained as a painter. As a young man, Jacque apprenticed to a map maker in Paris, and after military service, where he served as a cartographer, he left for England, where he was employed as an engraver for La Charivari. After two years in London, Jacque returned home to Paris, and made his Salon debut in 1833. Jacque continued to regularly contribute paintings and prints to the Salon every year until 1870. It was when great a cholera epidemic swept Paris in the middle of the 19th century that Jacque's career experienced a stage of significant growth. Jacque, who had been living and working in Paris at the time, decided to relocate his family from the city, which was completely besieged by illness, and flee for the pristine forest of Fontainebleau. Here he found himself surrounded by pastoral subject matter, and was deeply moved and inspired by the beauty and unidealized simplicity of the bucolic scenery of the woodlands, which once served as the unmapped preserve of kings and their royal hunting parties. Jacque settled in Barbizon, along the outskirts of Fontainebleau forest, along with his friend and colleague in the arts, Jean-François Millet. The two men where among the first generation of artists who settled in this region, and it is here that the Barbizon School has its origins. Jacque painted at Barbizon until 1854, finding his inspiration in the bucolic tableaus of shepherds and their flocks, pig pens, fowl, and farmers. He painted with tender realism and authentic appreciation. Not only did Jacque find artistic inspiration in Barbizon, he also was moved to become involved in land speculation and poultry breeding, a subject he became so aquatinted with that his enthusiasm spawned a book on the matter, Le Poulailler, monographie des poules indigences et exotiques, published in 1848. Jacque left Barbizon in 1854, and continued to paint in the environs around Paris until his death at the age of 81.
A note on the Provenance:
PIETER WILLEM VAN DOORNE (Amsterdam 1896–Vreeland? 1971), lawyer, Vreeland. Prints and drawings.
Pieter van Doorne studied law in Amsterdam, where he practiced as a lawyer and public prosecutor starting in 1924. He also served as Dean of the Dutch Order of Lawyers (Nederlandse Orde van Advocaten). From 1956 onwards, he lived in Vreeland.
Van Doorne began collecting in the 1940s. He primarily assembled old master prints from the 17th-century Dutch School; notably, he owned the almost complete graphic oeuvre of Cornelis Bega, Herman Naiwincx, and Thomas Wijck.
However, unwilling to limit himself to a single subject or period, as he noted in a letter to Frits Lugt dated August 20, 1968, he acquired not only prints spanning the 16th through 20th centuries from various schools but also Japanese woodcuts (Custodia Foundation archives). Thus, he owned sheets by Hollar and Stefano della Bella, to which must be added 19th-century French prints—such as numerous plates by Daumier, rare impressions by Bresdin, and sheets by artists who were then little known, such as Adolphe Appian, Jacques Beurdeley, and Gabrielle Marie Niel. Finally, in his letter, Van Doorne notes that while his collection was first and foremost a collection of prints, he occasionally purchased drawings by young Dutch artists. By the time he established contact with Lugt, he owned nearly 3,000 sheets. To refine his collection, he would sometimes sell anonymous prints at auction.
In 1947, together with B. Kist and H.C. Molster, Van Doorne founded an association for print enthusiasts: the *Amsterdamsche Prentkring*. Collectors would regularly gather at one another’s homes or at the Rijksprentenkabinet to exchange views on the graphic arts. During an exhibition held in 1955, which brought together a selection of works collected by members of this society, Van Doorne had the opportunity to lend 42 prints (see bibliography). From 1967 onwards, he served as Chairman of the Board of the Rembrandthuis. In 1970, an exhibition of his collection of 19th-century French prints—presented alongside that of R. Wartena—was held at the Rijksprentenkabinet in Amsterdam.
His collector’s mark, consisting of the initials vD, was designed by Theo Laurentius in 1968. Following his death, two sales of prints from his collection took place: one in 1972 and the other in 1976.
—Fritz Lugt.
Item number: 2525
Price: $350.00
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