A.-P. Martial (Adolphe-Martial Potémont, dit) (1827-1883) - Lot 117

A.-P. Martial (Adolphe-Martial Potémont, dit) (1827-1883) Lettre sur les éléments de la gravure à l'eau-forte. 1864. Pl. 1 and 2 of a suite of 4 etching plates. 2 laid leaves bearing the etchings as published, the margins entirely covered with a text in pen and sepia ink (recto and verso of pl. 1, verso of pl. 2), in fine, tight fly-leg script, certainly in the hand of the author, who here addresses a correspondent to whom he returns one of his etchings with advice. Small pen-and-ink sketch in the left margin of pl. 1 (two mice referring to the waste paper collectors he mentions at this point in the text). Freckling, oxidation and rusty dampstains. A unique copy. Le Traité d'eau-forte by Martial. Summary in four folio leaves is described among the novelties "on sale at MM. Cadart et Luquet" at the end of the Almanach de la Société des Aqua-fortistes of 1865: "This little treatise, presented in the familiar form of a letter to a friend, gives anyone who knows how to draw the professional processes of etching, with the engraved example opposite the explanation. With this treatise, you'll know everything there is to know about etching in just two hours. Practice and experience do the rest. The complete original suite is extremely rare: "Few institutions possess the complete series, including the Art Institute of Chicago (inv. 1949.653a-e); the Minneapolis Institute of Art (inv. P.3,234.1-5); the British Museum in London (inv. 1865,0429.137-141); the Rijksmuseum in Amsterdam (inv. RP-P-1950-155A-E)". (Fondation Custodia, online notice). Another suite is now in the collections of the Petit Palais in Paris. Our set of two sheets, although incomplete with pl. 3 and 4 of the suite, seems to have been originally made up of these two sheets only, addressed to a friend or pupil, to whom Martial gives further advice by repeating the five essential points making up the chapters of this letter: "vernir; graver; morsure; épreuves; retouches". Partial transcription of the handwritten text: Sheet 1, recto "Ribot, Chifflart and Daubigny, real painters' etchings...". Advice on printing follows: "Je passe la mousseline roulé [sic]". "Here is the proof of one of the plates I told you about: it is supported on all points." "The printer's initiative is sometimes all the greater when the plate has simply been engraved...". "The artists therefore have everything to gain by presiding over the printing of their proofs, to indicate to the printer how they wish to be interpreted. Here, advice on the quality and tint of inks. "A plate like yours requires a light black, composed of German black and lampblack. Here, advice on paper selection; proofs before the letter; proofs for comment; steeling, "the invention of which is due to Messrs. Salomon and Garnier, and which Mr. Jaquin has taken it upon himself to make practical, consists in the deposition by electroplating of ammoniacal iron, a true steel, on copper plates." "Aciérage is generally used: it preserves intact the beautiful plates of our engravers, and makes it possible to bring within the reach of a greater number of people choice engravings that formerly [sic] entered only the salons of the rich or the collections of passionate amateurs." This is followed by recommendations for books and catalogs raisonnés; lists of engraving materials and tools to acquire, with their prices. Sheet 1, back Expanded comments on varnishing; points; temperature of the apartment; tracing paper; use of the mirror: "This is how Méryon does it, standing and holding in his hand his plate and the small mirror he always carries in his pocket, he drives his point with extreme surety, without any further installation." This is followed by comments on chapter 3, "De la morsure", which corresponds to pl. 3 (here missing) of the suite: "Manière de border la planche". Sheet 2, verso Continuation of comments on the bite: "degree of acid"; "putting labels on vials"; "effect of temperature on the bite"; "of the crevé": "in very skilled hands, the crevé is a means of effect : Jacmart [sic], Bracquemond and others achieve velvety tones with extraordinary vigor". Comments on chapter 4, "retouches", which corresponds to p