BGuthrie Photos: NY -- NYC -- New York Public Library (Schwarzman Bldg) -- Exhibit: A Curious Hand: The Prints of Henri-Charles Guérard (1846-1897)

NY -- NYC -- New York Public Library (Schwarzman Bldg) -- Exhibit: A Curious Hand: The Prints of Henri-Charles Guérard (1846-1897):

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Description of Pictures: A Curious Hand: The Prints of Henri-Charles Guérard (1846-1897)
Open now. Ends February 26th, 2017.
Described by the influential nineteenth-century art critic Roger Marx as “the engraver of curiosity par excellence,” Henri-Charles Guérard was one of the most skilled and inventive French printmakers of his day. It was to Guérard that the Impressionist painter Édouard Manet turned whenever he needed help making etchings, no doubt owing to Guérard’s expertise as a professional printmaker as well as to his innovative approach to the medium. He reacted to a broad array of artistic styles and worked in a variety of print techniques, testing the boundaries of each. Particularly noteworthy in this regard are his works that respond to the nineteenth-century vogue for Japanese ukiyo-e woodcuts, which embody some of the artist’s most original expressions.
Thanks to a generous gift from the art collector and connoisseur Samuel Putnam Avery (1822–1904), The New York Public Library has the largest collection of Guérard’s work in the United States. The exhibition on the third floor of the Library will feature close to ninety of his prints, including many states and impressions that have only recently come to light and which reveal his range and virtuosity.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. NYPLCH_161221_001.JPG: The Prints of Henri-Charles Guerard 1846-1897 A Curious Hand
2. NYPLCH_161221_004.JPG: Described by the influential nineteenth-century art critic Roger Marx as "the engraver of curiosity par excellence," Henri-Charles Guérard was one of the most skilled and inventive French printmakers of his day. It was to Guérard that the Impressionist painter Édouard Manet turned whenever he needed help making etchings, no doubt owing to Guérard's expertise as a professional printmaker as well as to his innovative approach to the medium. He reacted to a broad array of artistic styles and worked in a variety of print techniques, testing the boundaries of each. Particularly noteworthy in this regard are his works that respond to the nineteenth-century vogue for Japanese ukiyo-e woodcuts, which embody some of the artist's most original expressions. Thanks to a generous gift from the art collector and connoisseur Samuel Putnam Avery (1822–1904), The New York Public Library has the largest collection of Guérard's work in the United States. The exhibition on the third floor of the Library will feature close to ninety of his prints, including many states and impressions that have only recently come to light and which reveal his range and virtuosity. Madeleine Viljgen Curator of Prints
3. NYPLCH_161221_013.JPG: West Meets East Japan's opening up to the West in the early 1850s brought an influx of Japanese art and curiosities to Paris. One of the most outspoken proponents of japonisme, the resulting vogue for the Japanese style in art, was Philippe Burty. A contributor to Paris à l'eau-forte, Burty collaborated with Louis Gonse on the new publication L'Art japonais, which Guérard helped illustrate with more than 200 prints of Japanese subjects. Particularly formative for Guérard's own approach to japonisme were the printed works of Katsushika Hokusai (1760–1849), known as Hokusai manga. The multivolume series pictured an encyclopedic array of animals, people, and objects, which are ordered by theme and sometimes arranged in compositions and situations that create simple narrative structures. Hokusai presented his figures afloat on the white page with little information about setting or place. His informal, sketchlike approach profoundly shaped Guérard's own treatment of Japanese-inspired subjects.
4. NYPLCH_161221_016.JPG: Henri-Charles Guerard Five Figures Seated around a Board Game, ca 1882
5. NYPLCH_161221_021.JPG: Henri-Charles Guerard [Eight Japanese Subjects], ca 1888
6. NYPLCH_161221_027.JPG: Henri-Charles Guerard Calendar, 1883-84
7. NYPLCH_161221_034.JPG: Henri-Charles Guerard [Ten Calling Cards of the Artist], ca 1888
8. NYPLCH_161221_038.JPG: Henri-Charles Guerard Marionnette aux lanternes japonaises (Marionette with Japanese Lanterns), 1888
9. NYPLCH_161221_042.JPG: Henri-Charles Guerard Twenty Grotesque Masks and Two Death's Heads, before 1888
10. NYPLCH_161221_052.JPG: Henri-Charles Guérard (French, 1846–1897) L'Assaut du soulier (The Assault of the Shoe), ca. 1888 Etching, drypoint, and aquatint, with roulette in pink and yellow The image, which shows a troop of tiny Japanese men climbing energetically over a woman's shoe of Western style, captures the droll and occasionally baffling behavior of the figures in Hokusai manga. Women's feet and, especially, their shoes have long been fetishized in both the West and the East, and the conduct of the "assailants," which includes a figure clambering on the slipper's ruffled pompom, is suggestive. The impressions shown here reveal Guérard experimenting with jaunty colors, one hot pink, the other bright yellow.
11. NYPLCH_161221_057.JPG: All Creatures Great and Small An animal lover, as suggested by his clear affection for his pet dog Azor and monkey Bi, Guérard turned often to the animal kingdom for his subjects. From the tiny housefly to the hefty African elephant, he dedicated the same level of close observation to each. Guérard imbued each animal, whether seen in his living room or observed at the zoo, with a palpable character that makes these prints among his most successful and idiosyncratic expressions.
12. NYPLCH_161221_060.JPG: Henri-Charles Guerard Cat on a Newspaper, before 1887
13. NYPLCH_161221_071.JPG: Henri-Charles Guerard Head of a Black Cat, before 1888
14. NYPLCH_161221_074.JPG: Henri-Charles Guerard Head of a Tiger, before 1888
15. NYPLCH_161221_079.JPG: Henri-Charles Guerard The Flies, 1875
16. NYPLCH_161221_083.JPG: Henri-Charles Guerard The Monkey and the ELephant, before 1887
17. NYPLCH_161221_086.JPG: Henri-Charles Guerard The Elephant of the Botanical Garden, before 1887
18. NYPLCH_161221_090.JPG: Henri-Charles Guerard Monkey without Chestnuts, 1870s-80s Monkey With Chestnuts, 1870s-80s
19. NYPLCH_161221_096.JPG: Henri-Charles Guerard [Rat in a Vase Gazing at the Moon], ca 1886
20. NYPLCH_161221_101.JPG: Henri-Charles Guerard My Monkey, Bi, 1875
21. NYPLCH_161221_104.JPG: Henri-Charles Guerard Seven Black Cats, 1888
22. NYPLCH_161221_111.JPG: Kitao Masayoshi [Abbreviated Drawing Styles of Dogs and Other Animals] from How to Draw Simple Birds and Animals, 1797
23. NYPLCH_161221_119.JPG: Utagawa Kuniyoshi [Story of a Cat in Moonlight], 1842-49
24. NYPLCH_161221_121.JPG: Katsushika Hokusai [Men Playing Games and Other Activities] from Hokusai manga, vol. 8, 1819
25. NYPLCH_161221_123.JPG: Katsushika Hokusai [Selection of Noh Masks] from Hokusai manga, vol. 2. 1840
26. NYPLCH_161221_126.JPG: Henri-Charles Guérard (French, 1846–1897) Azor, 1888 Color etching Etching Color etching with red ink Color etching with yellow ink In the nineteenth century, sentimental portraits of "man's best friend" were much sought after by the middle class. Far removed from these syrupy prototypes, Guérard's four versions of his dog, Azor, brim with personality. Akin to the artist's character studies informed by the Dutch masters, the dog is rendered as either alert but dimwitted, gazing out with a lolling tongue, or as proud and stately, with his name emblazoned in Roman lettering above him.
27. NYPLCH_161221_142.JPG: Death and Decapitation Death is a prevalent and persistent theme for Guérard, anticipating the late nineteenthcentury Symbolist movement and its artists' engagement with the subject. Particularly gruesome are his portrayals of beheaded humans and animals. Guérard's fascination with the subject was a response in part to his penchant for François Rabelais (1494–1553), whose writings were associated with the grotesque and who explored the theme of decapitation in his celebrated pentalogy La Vie de Gargantua et Pantagruel. The century-old memory of the French Revolution must also have been an influence, having condemned countless aristocrats to the guillotine for their crimes against the people, though other fin-de-siècle anxieties are doubtless at stake, too.
28. NYPLCH_161221_145.JPG: Henri-Charles Guérard (French, 1846–1897) Le Grand corbeau pendu (The Large Hanging Raven), before 1888 Drypoint In 1875, the famous Symbolist poet Stéphane Mallarmé translated Edgar Allen Poe's macabre poem The Raven into French. Soon thereafter, Richard Lesclide of Paris à l'eau-forte, the arts journal to which Guérard contributed regularly, worked with Guérard's friend Édouard Manet to publish and illustrate Poe's poem. Even though Manet's rendering was of a living bird, Guérard's image of a dead raven hanging from an invisible string is no doubt indebted to his friend's work, and to the contemporary fascination with Poe.
29. NYPLCH_161221_149.JPG: Henri-Charles Guérard Decapitated Head, 1888
30. NYPLCH_161221_152.JPG: Henri-Charles Guérard Head of a Sheep, 1888
31. NYPLCH_161221_159.JPG: Still Life, or Nature Morte" The French term for a still life is nature morte -- literally, "dead nature" -- no doubt because these compositions frequently include decaying fruits and lifeless animals, sometimes as a comment on the passage of time and the vanity of earthly delights. For Guérard, the term was particularly meaningful, since a number of his still lifes do, in fact, relate to the themes of death he pursued elsewhere.
32. NYPLCH_161221_162.JPG: Henri-Charles Guérard (French, 1846–1897) Les Cocottes de la mort (The Origami of Death), 1875 Etching and drypoint This bizarre image shows a skull in a stand-off with five folded-paper origami. Surrounding and facing the grimacing skull, the paper creatures appear confrontational and even menacing. The meaning of the work is hard to ascertain, though the artist's use of origami may suggest an allegory involving the triumph of Japanese art and/or japonisme.
33. NYPLCH_161221_166.JPG: Henri-Charles Guérard (French, 1846–1897) [Composite Drawing of the Artist's Lamp Collection], ca. 1875 Pen and ink on paper Lanterne à Arsène Alexandre (Lantern in the Style of Arsène Alexandre), 1875 Etching Lanterne cylindrique (Cylindrical Lantern), 1897 Etching Rendered in the style of Japanese manga, the drawing depicts the artist's quirky personal collection of lanterns. A response perhaps to the introduction of gas lighting, Guérard's portrait-like treatment of oil lamps is a nostalgic homage to items of everyday use that were slowly being phased out. Imbued with anthropomorphic qualities, the printed lanterns suggest the artist's deep attachment to them as living "characters" of a passing era.
34. NYPLCH_161221_172.JPG: Henri-Charles Guérard A Rose in a Glass, 1891 A Rose in a Glass with a Letter, 1891
35. NYPLCH_161221_181.JPG: Henri-Charles Guérard The Apples, ca 1895
36. NYPLCH_161221_187.JPG: Portraiture Guérard created only a handful of portraits, but they, too, exemplify the artist's range. His sitters were principally his friends, family, and important political and cultural figures.
37. NYPLCH_161221_190.JPG: Henri-Charles Guérard Ferenc Pulszky, 1885
38. NYPLCH_161221_194.JPG: Henri-Charles Guérard Honore Daumier, 1888
39. NYPLCH_161221_199.JPG: Henri-Charles Guérard (French, 1846–1897) Portrait of Jean-Raimond Guérard, 1890 Color etching In 1879, Guérard married the rising art-world star Eva Gonzalès, a student of his friend Édouard Manet's. In 1883, Eva died giving birth to their son, Jean-Raimond. This sensitive portrait shows the boy at about age six.
40. NYPLCH_161221_204.JPG: Fine-Art Ephemera From posters to newspapers, magazines to business cards, the nineteenth century saw an efflorescence in commercial printing. Guérard, whose reproductive prints were already an important source of income, participated in this boom by creating menus, notecards, business cards, and other public announcements. Eschewing lithography, however, the medium most often associated with such ventures (and looked down on for that reason), Guérard favored intaglio, a form of incising, which aligned his prints more closely with fine art than with the trade. Like his prints of animals, these works count among the artist's most original, and manifest his steadfast enthrallment with the art of Japan.
41. NYPLCH_161221_207.JPG: Henri-Charles Guérard First Invitation, with a Monkey Spilling Ink, ca 1880 Third Invitation, with Books and a Lantern, 1880 Fifth Invitation, with the Artist at Rear with His Printing Press, 1883 Second Invitation, Trompe-l'oeil, ca 1880
42. NYPLCH_161221_215.JPG: Henri-Charles Guérard Carte de Visite for A.W. Thibaudeau, 1888
43. NYPLCH_161221_221.JPG: Henri-Charles Guérard (French, 1846–1897) [Blank Cards], 1880s Pencil, pen, and ink Guérard designed these multipurpose sheets for menus or notecards. They exhibit a whimsical mashup of Western and Japanese art and include a number of his favorite motifs, including the monkey spilling ink, the marionette, Japanese masks, and even his dog, Azor. References to cooking, including the buffoonish figure in an apron and the men wearing chef's hats, make the connection to menus.
44. NYPLCH_161221_236.JPG: Kawanabe Kyosai (Japanese, 1831–1889) [Eating Persimmons Acrobatically], ca. 1880 Color woodcut This charming print is based on a Japanese folktale about the duo Ashinaga and Tenaga, one of whom has extremely long legs and the other, extremely long arms. Legend had it that the two worked together to catch fish. The long-legged Ashinaga waded into the water with Tenaga on his back, who used his long arms to pluck fish from the sea. In this print, the idea has been altered slightly to show the pair collecting persimmons. The playful characters must have appealed to Guérard, for he pictured a man with very long legs on one of his menus.
45. NYPLCH_161221_242.JPG: Henri-Charles Guérard Letter from Guerard to George A. Lucas on Notepaper Designed by Guerard, 1888
46. NYPLCH_161221_248.JPG: Experimental Printmaker A tireless innovator, Guérard was committed to the task of fine printing and to "cooking" his prints, a culinary term used by the artist's peers to describe their idol Rembrandt van Rijn's habit of experimenting with different papers and tinkering with plates. Like Rembrandt, Guérard was proud of pulling his own impressions, a practice he celebrated in an 1875 issue of Paris à l'eau-forte, to which he regularly contributed. He wrote, "La belle épreuve (the artist's proof ) is first of all pulled by the artist himself and satisfies the impression that he wanted to produce. [. . .] Rembrandt did not proceed otherwise: he pulled his etchings himself, and I think we can only win by following the example of such a master."
47. NYPLCH_161221_251.JPG: Henri-Charles Guérard (French, 1846–1897) La Rue Chevert, before 1888 Etching and aquatint Etching, aquatint, and toolwork This pair of prints exemplifies Guérard's bold, experimental spirit. By carefully pockmarking the sheet, perhaps with an etching tool, to remove a small amount of paper pulp, he transformed the image of a carriage disappearing down the narrow rue Chevert into a wintry scene, replete with falling snow. By mounting the print on Japanese paper speckled with gold, the artist enhanced the effects of the flurry.
48. NYPLCH_161221_258.JPG: Henri-Charles Guérard Le Moulin de la galette, ca 1875
49. NYPLCH_161221_266.JPG: Henri-Charles Guérard La Rue Chevert, before 1888
50. NYPLCH_161221_273.JPG: Henri-Charles Guérard Setting Sun, 1895-96
51. NYPLCH_161221_279.JPG: Reproductive Printmaker Before photography replaced printmaking as a way to make accurate reproductions, etching was the principal means for copying famous works of art. From 1870 to 1875, Guérard rendered works by Nicolas Berthon, Rembrandt van Rijn, Sandro Botticelli, and others, several of which appeared in the journal Paris à l'eau-forte. After the death in 1880 of André Jacquemart -- at the time, the leading reproductive artist of his day -- Guérard took up the mantle, publishing many of his prints in the esteemed journal Gazette des Beaux-Arts. The writer Oscar Wilde spoke perceptively when comparing the etcher to a critic, "who exhibits to us a work in a form different from the work itself, and the employment of a new material is a critical as well as a creative element."
52. NYPLCH_161221_282.JPG: Henri-Charles Guérard Rear View of Woman's Head, 1872
53. NYPLCH_161221_289.JPG: Henri-Charles Guérard Vase and Crab, 1882
54. NYPLCH_161221_291.JPG: Henri-Charles Guérard Red Binding, 1884
55. NYPLCH_161221_294.JPG: Henri-Charles Guérard Whistler's Mother, 1883
56. NYPLCH_161221_301.JPG: Henri-Charles Guérard (French, 1846–1897) After Sandro Botticelli (Italian, 1445–1510) Fragment of Sandro Botticelli's "Primavera," 1888 Drypoint and aquatint Drypoint and aquatint, sixth state The fascination with Sandro Botticelli, one of the most important artists of the Italian Renaissance, reached its zenith in the last two decades of the nineteenth century. By that time, Botticelli's paintings had become the subject of scholarly study, were sought after by collectors, and were a highlight of museum displays, but they also served as a major source of inspiration for contemporary artists. Here, Guérard rendered the Three Graces from Botticelli's beloved Primavera (ca. 1480). It was used to illustrate an article about the Renaissance master in the Gazette des Beaux-Arts in 1888.
57. NYPLCH_161221_311.JPG: Henri-Charles Guérard Tuscan Landscape, before 1888
58. NYPLCH_161221_314.JPG: Life and Death Born in Paris in 1846, Henri-Charles Guérard studied law before turning officially to art. He trained under the painter Nicolas Berthon (1831–1888) at the prestigious École nationale supérieure des Beaux-Arts in Paris and exhibited his first paintings at the Paris Salon in 1870. His earliest etchings appeared in 1872 in the popular literary journal Paris à l'eau-forte (eau-forte is the French term for "etching"). The short-lived revue, which released only 11 volumes between 1873 and 1876, was illustrated with original etchings that portrayed not only current events but also "curiosity and fantasy" -- two areas in which Guérard excelled. The artist made both original and reproductive prints throughout his brief life: he died in 1897, aged only 51 years.
59. NYPLCH_161221_317.JPG: Henri-Charles Guérard (French, 1846–1897) Self-Portrait Preparing an Etching, ca. 1890 Graphite and ink wash This drawing, which was made in preparation for a print, shows the artist working on an etching. Seated at a table, he copies a sketch propped against a ledge in front of him onto a prepared copper plate. Flanking him is the equipment necessary to produce his printed works, including flasks of acid, a basin to bite his plates, tools, and an etching ground. A screen suspended at an angle over his head was designed to prevent glare.
60. NYPLCH_161221_319.JPG: Norbert Goeneutte Guerard at His Press, 1888
61. NYPLCH_161221_328.JPG: Henri-Charles Guérard Receipt for Samuel Putnam Avery, 1889
62. NYPLCH_161221_332.JPG: Henri-Charles Guérard (French, 1846–1897) [Imprint of the Artist's Left Hand], ca. 1885 Unique nature print This impression of Guérard's left hand was no doubt made at the same time as the one of his right, a print now in the collection of the Los Angeles County Museum of Art. Whether the artist intended the hand prints as a sort of "self-portrait" or was merely playing with fingerprint technology, which at the time was emerging as a means to track and convict criminals, they are emblematic of his daring and enthusiasm for experimentation. Without equal for their time, the prints are comparable only to the considerably later Hand Shows (1967) of the Conceptual artist Robert Filliou or the Mud Hands (1980s) of Land Art pioneer Richard Long.
63. NYPLCH_161221_339.JPG: Henri-Charles Guérard (French, 1846–1897) De Profundis [An Imaginary Funeral Announcement], before 1888 Etching with silver and gold ink on black paper The Penitential psalm "De profundis" is recited in the Western liturgical tradition to lament the deceased. In deep sorrow, the psalmist cries to God for mercy. Here, the artist uses the lyric to invite the reader to participate in his funeral procession, mass, and interment. The date for the event remains to be given. Too large to function as a real funeral invitation, the print serves more as a public announcement than a private notice.
64. NYPLCH_161221_341.JPG: Precedents and Prototypes The seventeenth-century painter and printmaker Rembrandt van Rijn was the most important source of inspiration for the illustrators of Paris à l'eau-forte. Guérard was no exception, though he was as influenced by Rembrandt's process and style, including the Dutch artist's "daring speed and the tones revealed in his drawings," as he was by the lowbrow subject matter that the master and his Dutch peers, including Joris van Vliet and Adriaen van Ostade, embraced. Beyond art, Guérard also sought inspiration in literature, referring to the sixteenth-century French writer François Rabelais and the fictional trickster Cyrano de Bergerac as "revolutionaries of times past." The artist seems to have connected with the avant-garde, nonconformist aspects of these models, qualities that resonated with his own disposition and artistic persona.
65. NYPLCH_161221_344.JPG: Rembrandt van Rijn (Dutch, 1606–1669) A Scholar in His Study, or Faust, ca. 1652 Etching, drypoint, and burin Though sometimes referred to as "Faust," in reference to the legendary scholar of German lore, the exact theme of this mysterious print by the Dutch master Rembrandt has not yet been determined. Standing at his desk, a scholar is interrupted from his studies by an unearthly apparition. The print's inclusion of the letters "INRI," the inscription on Christ's cross, has led some to interpret the scene as one of religious conversion
66. NYPLCH_161221_347.JPG: Henri-Charles Guérard (French, 1846–1897) After Rembrandt van Rijn (Dutch, 1606–1669) Docteur Faustus, ou Le Microcosme [Faust], 1875 Etching Guérard's reproduction of Rembrandt's Faust was published in the March 14, 1875, issue of Paris à l'eau-forte. It reflects the journal's commitment to raising the status of etching by illustrating the work of the seventeenth-century Dutch master. More than any other, this image became emblematic of Rembrandt's virtuosity in nineteenth-century France. The enigmatic subject and the artist's graphic style appealed to contemporary sensibilities. The artist faithfully renders Rembrandt's design while eschewing a line-for-line copy of the original composition.
67. NYPLCH_161221_351.JPG: Jan Georg Van Vliet A Hunchbacked Beggar, 1632
68. NYPLCH_161221_353.JPG: Henri-Charles Guérard (French, 1846–1897) Beggars, 1874 Etching Negative print from etched plate Stirred by the irreverent and vulgar qualities of the Renaissance writer François Rabelais and inspired by his respect for Rembrandt, Guérard was drawn to lowlife subject matter, which he treated in the manner of the Dutch masters. Here, he depicts two beggars inspired by the work of Rembrandt.
69. NYPLCH_161221_359.JPG: Adriaen Van Ostade Smoker Laughing, 1652
70. NYPLCH_161221_362.JPG: Henri-Charles Guérard [Head of a Man Wearing a Hat], ca 1878
71. NYPLCH_161221_366.JPG: Édouard Manet: Friend and Colleague Beginning in the 1870s, Guérard assisted Édouard Manet with biting and pulling his prints, and their working relationship eventually blossomed into a friendship. In 1879, Guérard married Eva Gonzalès, Manet's favorite pupil, who died in childbirth in 1883 shortly after Manet's own death. Manet was not only a friend and colleague of Guérard's but also an important source of inspiration.
72. NYPLCH_161221_372.JPG: Édouard Manet (French, 1832–1883) After Diego Velásquez (Spanish, 1599–1660) Philip IV, 1862 Etching Diego Velásquez had a profound influence on Édouard Manet, who was drawn to his use of color and bold compositions. The Musée du Louvre, Paris, bought Velásquez's 1632–34 portrait of Philip IV in 1862, the same year that Manet made this reverse etching after the painting. Published as part of a suite of eight prints, a few of which were, like this one, inspired by the Spanish master, the etching was intended to be interpretative rather than reproductive.
73. NYPLCH_161221_377.JPG: Henri-Charles Guérard (French, 1846–1897) After Diego Velásquez (Spanish, 1599–1660) Portrait du cardinal infant Don Fernando [Portrait of Cardinal Infante Don Fernando as a Hunter], 1888 Etching Like his friend and contemporary Édouard Manet, Guérard held the seventeenth-century Spanish artist Diego Velásquez in high esteem. Here, Guérard, who was clearly capable of making faithful reproductive prints after artists' paintings, instead renders Velásquez's Portrait of Cardinal Infante Don Fernando (1632–33) in a free and interpretative manner. That Manet had taken a similar approach to Velásquez's work reflects Guérard's admiration not only for the Spanish master but also for his friend.
74. NYPLCH_161221_382.JPG: Edouard Manet Polichinelle, 1878
75. NYPLCH_161221_385.JPG: Henri-Charles Guérard Polichinelle, 1885
76. NYPLCH_161221_388.JPG: Henri-Charles Guérard The Water Drinker, 1884
77. NYPLCH_161221_392.JPG: Édouard Manet (French, 1832–1883) Printed by Henri-Charles Guérard (French, 1846–1897) The Boy with Soap Bubbles, 1868–69 Etching A painter by training, Édouard Manet turned to professional printers for help making prints. Guérard assisted Manet in the years between 1866 and 1870 and was allowed to keep several rare proofs as thanks for his help. This impression is inscribed tiré par Guérard, or "pulled by Guérard," in the printmaker's hand. The print copies in a very loose way a painting of the same subject, and in this respect follows the artist's interpretative attitude toward reproduction, as seen in his etching after Velásquez's Philip IV.
78. NYPLCH_161221_395.JPG: Edouard Manet The Mariner's Dream, 1874
79. NYPLCH_161221_401.JPG: Edouard Manet Dead Toreador, 1874
80. NYPLCH_161221_403.JPG: Edouard Manet Jeanne: Spring, 1882
81. NYPLCH_161221_407.JPG: Norbert Goemeitte Portrait of Henri Guerard at the Press, before 1888
82. NYPLCH_161221_412.JPG: Henri-Charles Guérard The Boots, before 1888
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