Henri-Patrice Dillon, Polichinelle, 1898, Original Lithograph

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Description

Henri-patrice dillon (1850-1909)

polichinelle
(punch)

original lithograph from the glorious portfolio "l'estampe moderne", issue #20 (december 1898)

on wove paper

… Read more Henri-patrice dillon (1850-1909)

polichinelle
(punch)

original lithograph from the glorious portfolio "l'estampe moderne", issue #20 (december 1898)

on wove paper

year: 1898

size (sheet): 405 x 305 mm
size (image): 352 x 267 mm

signed in the plate, bottom

blind stamp of the publisher, bottom right, out of the image

excellent condition: minor signs of age
great colours
full margins (not cropped, not trimmed)

same print in the moma collection, ny, inventory: 361.1958.3

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about the collection (l'estampe moderne)

l'estampe moderne appeared in 1897-1899 as a series of 24 monthly fascicles, each containing 4 original lithographs, printed by parisian imprimerie champenois. Many accomplished european art nouveau painters contributed works to this publication, which contained only original prints invented and produced especially for this collection. The publication was edited by charles masson and h. Piazza. Each issue came in a paper cover bearing an original lithograph by alphonse mucha.
each lithograph was accompanied by a tissue containing the details (title of the artwork, name of the artist, etc.) and a short text by a well-known author who inspired the artist (this one being by charles nodier).
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about the artist

henri patrice dillon (san francisco 1850 - paris 1909), was a french painter, illustrator, and lithographer of irish descent who made his career in belle époque paris.

born patrice henry dillon at the french consulate in san francisco, he was the son of irish-born diplomat guillaume patrice dillon (1810-1857).

henri patrice dillon was in paris in 1873 to devote himself to the study of painting; he attended classes with the painter isidore pils. He attended the école des beaux-arts in the class of henri lehmann, carolus-duran, and then alexandre cabanel, as we learn from his application submitted to the chancellery.

he exhibited at the paris salon from 1876 onward. He completed two commissions in the form of large compositions, first les funérailles de paul bert (the funeral of paul bert), then la fondation de l’ordre des jésuites (the foundation of the jesuit order) intended for the church of montmartre (preserved in the crypt of the martyrdom of saint denis). He received an honourable mention at the 1890 salon, then a third-class medal at the 1892 salon. He was a member of the salon des artistes français, where he exhibited regularly until 1905.

in 1892, he produced a series of lithographic works for the society of french lithographers. In 1893, he joined l'estampe originale, refounded by andré marty. He was a member of the commission for the salon des cent in 1895.
in december 1898, he was named a knight of the legion of honor.

his lithographs were printed in small numbers, making them quite rare. Noted for his talent as an illustrator, he worked with publishers such as calmann lévy, then arthème fayard and henri floury. He illustrated several scores by théodore botrel for the publisher g. Ondet.

his paris studio was located at 84 boulevard rochechouart (in 1893), the address of the cabaret le chat noir.

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from the text on the tissue paper, by charles nodier:

voilà, voilà polichinelle, le grand, le vrai, l'unique polichinelle! il ne parait pas encore, et vous le voyez déjà! vous le reconnaissez à son rire fantastique, inextinguible — comme celui des dieux\.\.
c'est lui ! c'est lui! c'est polichinelle.
alors\. Oh! c'est un spectacle enchanteur que celui-ci !\. Alors les petits enfants, qui se tenaient immobiles d'un curieux effroi entre les bras de leurs bonnes, la vue fixée avec inquiétude sur le théâtre vide, s'émeuvent et s'agitent tout à coup, agrandissent encore leurs beaux yeux ronds pour mieux voir, s'approchent, se retirent, se rapprochent, se disputent la première place. — ils s'en disputeront bien d'autres quand ils seront grands! — le flot de l'avant-scène roule à sa surface de petits bonnets, de petits chapeaux, de petits schakos, des toques, des casquettes, des bourrelets, de jolis bras blancs qui se contrarient, de jolies mains blanches qui se repoussent, et tout cela, vous savez pourquoi ?
pour saisir, pour avoir polichinelle vivant !
au second rang cependant se pressent les bonnes et les nourrices, épanouies, vermeilles, joyeuses comme d'autres enfants, sous le bonnet pointu et sous le bonnet rond, sous la cornette aux bandes flottantes et sous le madras en turban.

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important:

. The listing is for the original print, in the above mentioned very good / excellent condition.
. The original tissue paper introduction has some folds and tears, especially along the margins, and it will be given as is to the buyer as a gift for confirming the authenticity.
. The cover by mucha is shown as a reference this piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less