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Original Crayon and wash lithograph printed in eight colors (black, gray, yellow, red, green, orange, pink, brown) on Ingres d'Arches laid paper bearing the "MBM" watermark.
Signed on the stone lower right Renoir.
A richly printed impression of the only state from the edition of 200 (apart from the 100 printed in black, the 50 in sanguine, the 50 in bistre, the proofs printed in shades of blue, green, and mauve and the impressions printed in 11 colors with the second signature is added to the stone by the printer). Printed by Auguste Clot, Paris.
Catalog: Loys Delteil, Le Peintre-Graveur Illustrée, Paris, vol XVII, no 30;
Claude Roger-Marx, Les lithographies de Renoir, André Sauret pub., Monte Carlo,
1951, no. 5;
Michel Jean Leymarie & Melot, Les Graveurs des Impressionistes, Arts et Métiers
Graphiques, Paris, 1971, no. R29;
Dr. Joseph G. Stella, The Graphic Work of Renoir, Fort Lauderdale, 1971, no. 30
Literature: A. Hyatt Mayor, Prints & People: A Social History of Printed Pictures, The
Metropolitan Museum of Art, New York, 1971, no. 718 (ill.);
Roger Passeron, Impressionist Prints, The Wellfleet Press, New Jersey, 1974, p. 125
(Ill.);
Herman J. Sechsler, Great Prints & Printmakers, Leon Amiel, New York, 1977, p. 153,
plate 57 (ill.);
Una E. Johnson, Ambroise Vollard Editeur: Prints, Books, Bronzes, The Museum of
Modern Art, New York, 1977, no. 108;
Domenico Porzio, editor, lithography: 200 Years of Art, History and Technique, The
Wellfleet Press, New Jersey, 1982, p. 97 (ill.);
Michel Melot, The Impressionist Print, Yale University Press, New Haven & London,
1994, p. 269, no. 308 (ill.)
Image size: 24 x 19 1/2 inches
Sheet size: 35 9/16 x 24 5/8 inches
In excellent condition with fresh colors printed on a sheet with full margins and deckled edges.
Collections in the which impressions of this lithograph can be found: Cabinet des Estampes, Paris; Art Institute of Chicago; Brooklyn Museum: Museum of Fine Arts, Boston; Metropolitan Museum of Art, New York: Museum of Modern Art, New York; National Gallery of Art, Lessing J. Rosenwald Collection, Washington DC; New York Public Library
This image is one the which was particularly Important to Renoir in his Experiments with printmaking late in his career. He approached the subject in no less than six of his prints (3 etchings and lithographs 3), these Represent 10% of his entire output printmaking. This, the second large version of the lithograph, the artist's sixth and final manipulation of the composition, is a seminal example of Impressionist experimentation in color lithography and is a product of close collaboration Between the artist, the printer (Auguste Clot) and the publisher (Ambroise Vollard).
The composition of "Le chapeau épinglé" was inspired by Renoir took a holiday on the northern coast of France with Berthe Morisot, her husband, Eugene Manet (Edouard Manet's brother), Their daughter Julie and her cousin Paulette Gobillard. It is Paulette Who is seen putting the pin to Julie's hat. Julie Manet, one of Renoir's favorite models, was born in 1878. At the time when this lithograph was done, she was nineteen, but since the lithograph was based on some Earlier drawings, Julie must have been about fifteen or sixteen when Renoir, attracted by the girl's charming attitude, made his original studies, on the which almost at once, he based a painting and a pastel, both dated 1893, Followed by Ultimately this lithograph.
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