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La Mère Malade
[The Sick
Mother]
Godefroy 90.2
etching with
aquatint and drypoint, 1889, on fine off-white antique laid paper with a bell watermark, a splendid proof impression
of the second state (of 6), signed, numbered ("1/12"), and annotated "2e Etat" by the artist in pencil, of the utmost rarity ("de la plus grande rareté", according to Godefroy), slight vertical undulations from the press in part of the composition, printed with
substantial
though irregular margins, a rough tattered edge below, with stitching holes from an old binding as the sheet appears to have been torn from a ledger.
There
are addtional pencil annotations along the bottom edge of the sheet,
some of which have been partially rubbed out, traces of old hinges on
the top margin, verso, otherwise in quite excellent condition,
having never been framed or exhibited
P. 197x297mm., S. 277x387mm.
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Provenance: Arthur H. Harlow & Co., New York, with his label from an old mount, and subsequently, a private American
collection
The present impression of this
important print is a most interesting early proof for several reasons;
firstly it should be noted that Besnard most probably staged his own
family in this print, which is rather reminiscent of Mary Cassatt's
intimistic portraits. And, as a working proof, it shows best his
artistic endeavours in the execution of this important work.
But we should call on Louis
Godefroy* to develop the demonstration (excerpt from his long Introduction to the catalogue raisonné):
Besnard était depuis quelques
années déjà père de famille. Il allait donc trouver ses modèles
préférés dans la troupe joyeuse qui s'ébattait à ses côtés. Ce
fut alors le Bi à Villerville, Robert de profil, Robert et son âne, Philippe au bord du lac d'Annecy, Germaine Besnard sous sa grande charlotte et enfin leur mère, dans cette planche exquise de La Mère malade (1889). Quel contraste avec la splendeur éclatante de La Robe de soie!
Là, tout est simplicité, tendresse, émotion. Dans son premier état
surtout nous aimons cette pièce pour la grande synthèse du sujet
principal dont la simple blancheur s'encadre dans la gamme infinie des
blonds, des gris et des noirs veloutés qui viennent discrètement
noyer dans leur pénombre tous les détails accessoires.
[Besnard had already been a
father for several years. He was therefore going to find his favorite
models in the joyful troop that frolicked at his side. Then it was he
etched Bi à Villerville, Robert de profil, Robert et son âne, Philippe au bord du lac d'Annecy, Germaine Besnard in her tall bonnet and finally their mother, in this exquisite plate of La Mère Malade (1889). What a contrast with the dazzling splendor of La Robe de Soie!
There, everything is simplicity, tenderness, emotion. In its first
state we especially like this piece for the great synthesis of the main
subject, whose simple whiteness is framed in the infinite range of
blonds, grays and velvety blacks which discreetly drown in their
half-light all the incidental details.]
* Louis Godefroy, Albert Besnard, in Loys Delteil, Le Peintre-Graveur illustré, Tome XXX, 1926.
