Harris Schrank Fine Prints

Charles Meryon (1821-1868), Bain-Froid Chevrier (Chevrier’s Cold Bath Establishment, or The School Baths, Paris), 1864.  References: Delteil 44 (fourth state of six); Schneiderman 93 (fourth state of five). In very good condition, on cream laid Hudelist paper (with the lettered Hudelist watermark often found on Meryon proof impressions), with wide margins (5 1/4 x 5 5/8, the sheet 11 1/2 x 12 inches), archival mounting.

With a red inked monogram lower right margin, possibly that of Phillip Burty (cf. Lugt 2071), an eminent collector of Meryon prints and author of an early Meryon catalogue.

A very fine proof impression, rare in this early lifetime state. Of the 12 impressions printed in this state, 6 are recorded in museum collections.

In this state the words “Bain Froid Chevrier” were added to the tiny billboard.  After printing the 12 impressions in this state Meryon added lettering below, an extensive verse, his monogram upper center and a few drypoint lines for the later final state which was published in a number of lifetime and also posthumous impressions.

The Ban-Froid Chevrier was one of the floating cold water baths and swimming schools for both sexes which were a feature of the Seine during the summer months.  It was located at the western end of the Ile de la Cite, behind the statue of Henry IV (which is visible in the etching). At the left is Pont Neuf.

In a letter to Jean Lesecq who commissioned this print Meryon wrote that he spent 45 days making this print; he notes: “I first made a drawing of the scene as it is in reality, but finding that the Pont Neuf was too much in profile, I made a second sketch in order to make a more compact composition.”

Charles Meryon (1821-1868), La Tour de L’Horloge (The Clock Tower, Paris), 1852, etching with engraving. Reference: Schneiderman 23, Delteil 28. Third state (of 10). On very thin Japan paper. 10 1/4 x 7 1/4 inches. Archival mounting (non-attached mylar hinging between acid free board, glassine cover).

In very good condition.

Provenance: Colnaghi, London (with their notation verso).

A fine early atmospheric impression, printed in dark brownish/black ink.

In this state the borderline at both sides has yet to be reinforced. There is still a thin horizontal line across the lower margin above the bottom platemark, which is removed in the fifth state. The margin below is blank, and several changes are made in successive states before the letters (the title, the publisher, the printer) are added in the sixth state.

Meryon probably printed this state, and the proofs of the next two states, personally; then a large edition of 600 was made for L’Artiste, printed by Delatre.

La Tour depicts the Clock Tower, restored in 1852, still partly covered with scaffolding, standing at the point where the Pont-au-Change meets the Ile de la Cite. The Pont is full of activity. The composition is actually a composite of two different views, not precisely what one would see from any angle, but aesthetically more satisfying to Meryon than the “real” views he had made in preparation for the print.