ELIOT, Claude - Society of Friends of the Arts of Angers. Th - Lot 431

Lot 431
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ELIOT, Claude - Society of Friends of the Arts of Angers. Th - Lot 431
ELIOT, Claude - Society of Friends of the Arts of Angers. The Salon of 1892. Critique by Claude Eliot. Angers, Germain & G. Grassin, 1893. In-8 square, Title added signed Pascalidès, 1894, calligraphy with border and lettering in the style of the Middle Ages - Title engraved with etching drawn in red signed in pencil Sylvestre. Portrait of the author engraved on wood by Clément Bellenger after G. Rochegrosse. Proof printed on China paper signed in pencil by both artists. Title printed in bistre, composition by Emile Noirot, 103 pp. bound in japanese style, polychrome embossed decoration, enhanced with gold, silk endpapers in terre d'ombre enhanced with silver, cover on board. Printed in all at 30 ex. not put in the trade. The exhibition was held in Angers from November 12, 1892 to January 8, 1893. The author had the idea to make art criticism more attractive by presenting it in the form of a play in six acts published in serial form in the Journal du Maine et Loire. The humorous tone seduced and his critiques of the Salon were a real success. He decided to gather them in a volume of thirty copies enriched with original works by his artist friends. Each of these volumes constitutes a unique work, the participations varying from one copy to another. This one contains thirty original compositions, eleven of which are hors-texte, done in watercolor, gouache or pencil. The main contributions are those of Pascalidès, author of six plates out of text and two in the text. Among the hors-texte plates, two are realized on a piece of silk (recto and verso), another folded in the form of a triptych enhanced with gold, and a last one richly embroidered. They are all of Japanese inspiration. Another major contribution is that of Alexandre Defaux (1826-1900), a painter from the Barbizon school who won the Gold Medal at the 1900 Universal Exhibition. He evokes here the world of the countryside and especially that of the farmyards in nine gouaches of a surprising freshness. There are also two hors-texte drawings by Emile Noirot (1853-1924), a painter influenced by the Barbizon School and second prize winner at the 1893 Salon des artistes français. They are related to the forest. Finally Jenny Giot-Rieger born in Paris in 1876, member of the French Artists since 1891, signs three watercolors out of text representing flowers. The binding gathers several figures and landscapes evoking Japanese art. The one quite similar to a copy kept at the municipal library of Angers, is signed by Irène Pascalidès.
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