Cezanne: Daniel Jacomet Watercolor Pochoir Portfolio
15 Free-Standing Cezanne Watercolor Facsimile Pochoir Prints
Limited Edition – 69 of 225
Unique Custom-Made Wooden Display Box by Richard Tuttle
This is a rare limited edition portfolio of 15 free-standing watercolor pochoir prints entitled “Cezanne: Quinze Aquarelles, Reproduites en Fac-similes” published by Abraham Bornstein, Editions Artistiques et Documentarires, Paris, 1971 with a limitation of 225 hand numbered portfolios with this being number 69. The pochoirs were reproduced from the original watercolors at the Louvre Museum by Daniel Jacomet who developed the modern pochoir process and is widely considered its greatest practicioner.
The fifteen Cezanne watercolor pochoirs are all printed on arches paper with the Daniel Jacomet’s watermark. Each page measures 21” x 16.5” with the porchoir tipped onto the paper. Although the pages are a uniform size, the sizes of the porchoirs are each different and range from 19” x 12” to 5” x 10”. Just below the porchoir written in pencil is the limitation number 69 of 225 and the back of each porchoir bears the stamp of Daniel Jacomet. Each page is protected by a tissue guard. Also included in the portfolio is a list of the watercolors and introductory comments by Maurice Serullaz as well as a limitation page verifying that the portfolio is number 69 of 125. The Cezzane watercolors are:
Inside the Village (Interieur De Village)
Swimmers and Bathers (Baigneurs Et Baigneuses)
Trees and Houses (Arbres Et Maisons)
The Pots of Geraniums (Les Pots De Geraniums)
The Green Jug (La Cruche Verte)
Study for a Player’s Cards (Etude Pour Un Joueur de Carte)
Swimmers and Bathers (Baigneurs Et Baigneuses)
Roses in a Vase (Roses Dans Un Vase)
Corner of Lake Annecy (Coin Du Lac D’Annecy)
View of the Castle of Montgeroul (Vue Du Chateau De Montgeroul)
Tree and House (Arbre Et Maison)
Portrait of Vallier (Portrait De Vallier)
The portfolio is housed in a unique wooden display box designed and created by Richard Tuttle. The box is faced in solid walnut with walnut burl and yellow birch veneers applied to the sides of the box. The cover pulls off to reveal the portfolio. One print can be removed from the portfolio and displayed in the cover.
The display box is in FINE condition. The porchoirs are in FINE condition with print number 1 having a slight waviness on the edge. The print lies flat when it is under glass. A few of the tissue guards have minor creasing with the first tissue guard having more pronounced creasing. The portfolio case is in Very Good condition with rubbing and wear to the spine and generalized soiling to the covers.
About Daniel Jacomet and the Pochoir Process
The modern French tradition in the art of printmaking is represented in the prestigious work of Daniel Jacomet who worked to produce beautiful pochoir prints in collaboration with Modern Masters such as Picasso, Braque, Foujita, Klee, Matisse, Renoir, Gris, and numerous others. The Atelier Jacomet was founded in 1910 by Daniel Jacomet, and today is in the hands of his grandsons. It specializes in stencil (pochoir), the oldest technique of multicolor reproduction.
The Pochoir is a technique making use of templates. It was popular at the beginning of the twentieth century. To arrive at subtle shades of color, an ingenious but time-consuming and very complicated method was later invented by Jacomet, which produced stunning results. The pochoir process, characterized by its crisp lines and brilliant colors, produces images that have a freshly printed or wet appearance. Pochoir begins with the analysis of the composition, including color tones and densities, of a color image. Numerous stencils were designed as a means of reproducing an image. A craftsman known as a découpeur would cut stencils with a straight-edged knife. The stencils were originally made of aluminum, copper, or zinc but eventually the material of choice was either celluloid or plastic. Along with this transition of stencil materials, there was a shift away from the use of watercolor towards the broad, soft, opaque layers of gouache. The technique was further refined in an effort to create the most vivid, accurately colored reproductions. Stencils created by the découpeur would be passed on to the colorists. The colorists applied the pigments using a variety of different brushes and methods of paint application to create the finished pochoir print.
The manual aspect of pochoir has been both one of its most valuable attributes and one of its greatest failures as a medium. Pochoir is both labor-and time-intensive, making it an expensive and slow process of printmaking. As a result, techniques such as lithography and serigraphy, mechanized in nature, have replaced pochoir as a method of reproduction. Pochoir has been used in conjunction with other medium such as engraving, lithography, or photography as a means of adding color to a print.
About Richard Tuttle
Richard Tuttle is a painter, writer, graphic designer, carpenter, bookbinder and lover of literature. For the past 20 years, he has combined his many interests to create one of a kind works of art that merge the written word with fine leather, paper, paint, wood and veneer. These original book bindings have been exhibited in numerous galleries and were featured in a PBS documentary on the Chicago Art beat. Richard describes his work as follows: “I make literary artifacts. They are designed to pull books down off the shelf and display them in the salon, gallery or home as if they were works of art, which, of course, they are. Whether binding books with leather, paper, paint, wood, and found artifacts or building sculptures to encase the volumes, I seek to find a perspective that shouts out a piece of the essence of the literary work. I try to put myself in the author's or character's mind to say something about the time it was written in; the attitude that is explored and expressed; the magic that makes it a work of art. While I obviously respect and admire the books I work on, the humor, wit and raw energy I find so attractive in their works leads me to places that some might call disrespectful, but are, for me, essential parts of these literary works. Motivated by Marcel Duchamp's attempts to elevate the object into art and William Blake's efforts to remake his world and James Joyce's efforts to include all culture and all action in one whole: Motivated by the ongoing conversation of Jazz musicians between its earliest practitioners and its most avante garde practitioners: Motivated by the great world library of "what we are" as extolled by Jorge Luis Borges: Motivated by the desire to live in a world that is conscious of itself and conscious of its ability to create itself: I create these art objects out of books in order be surrounded by a physical environment that reflects the world of ideas I want to live in.”
Photographs of the display box, the portfolio case, the title and limitation page, and a close up of a few of the porchoirs appear in the photo section of the listing.