User:Eurodog/sandbox421

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Yves & Barret (active c. 1870–1890) were French engravers and inventors of a phototypographic reproduction process. Barret was the namesake of Jeanne Barret (aka Jeanne Baret), a poster artist born in La Comelle, France, and who died in Saint-Aulaye, France. He mainly worked during the modern period.

A. Yves, Engraver, designer and poster artist. - Associated with Barret, inventor of a phototypographic reproduction process around 1880.

• BnF 14960108j (A. Yves, graveur) (latest work; 1894)
• BnF 14960108j. (Yves)
• BnF 14960109w (Barret, graveur)
• BnF 14960109w (Barret)

History

Yves & Barret were prolific contributors of political cartoons and various illustrations for French publications, including La Vie Parisienne. Their partnership specialized in a technique called gillotage, a lithographic method where an image was either drawn or transferred onto a zinc plate, then covered with a resin that adhered to the lines. When the plate was exposed to acid, the resin acted as a resist, leaving behind a raised image that could be inked and printed. This method was widely used in newspapers as it allowed for seamless integration with type blocks, making it an efficient process for mass production of illustrations."

In 1868, François Barret took out a patent for the reproduction of a halftone image, obtained by interposing a screen or network between the engraving plate and the film.

"Yves et Barret (fl. c. 1870–1890) were French engravers active in the late 19th century. They engraved political cartoons and other images for French periodicals, including La Vie Parisienne. This partnership was known for creating works using gillotage, a now obsolete lithographic process wherein a drawing was made on or transferred to zinc and then dusted with resin, which adhered to the drawing. The resin then acted as an acid-resist when the ent ire plate was immersed in acid, creating a relief block that could then be inked and printed from. This printing technique was popular with newspapers, as it was completely compatible with blocks of type".

New Information 1

Direct quote
L’historien d’art et bibliothécaire Jean-Pierre Seguin (1920-2014) déclare : « Nous avouons n’avoir pas trouvé quel fut exactement le procédé employé. Yves et Barret furent les successeurs de Marchandeau. »34. Yves et Barret furent des graveurs associés inventeurs d’un procédé de reproduction phototypographique récompensé, comme ils s’en vantent dans le Didot-Bottin de 1881 :

Annuaire-almanach du commerce, de l’industrie, de la magistrature et de l’administration : ou almanach des 500.000 adresses de Paris, des départements et des pays étrangers Didot-Bottin, Paris : Firmin-Didot et Cie, 1881, p. 1521. Disponible sur Internet, url : <https://gallica.bnf.fr/ark:/12148/bpt6k9764647w/f1515>.

Marchandeau, comme ses successeurs Yves35 et Barret36, employait le procédé également adopté par Ferdinand Lefman (1827-1890), celui du “gillotage” produit par Firmin Gillot (1819-1872)37, et qui consiste en une “zincographie”.

• "Carnet de recherche de la Bibliothèque nationale de France" – "La Bibliothèque impériale et ses usagers en 1867".

New Info 2

Paris, 1875: Souvenir de participation au congrès international des sciences géographiques [Memento of participation in the International Congress of Geographic Sciences].

Français : Yves et Barret, NCᵀ (NCᵀ = Notable commerçant = "prestigious firm" or "distinguished merchant" or "reputable firm". See "Explantation des signes et abréviations" n.p.), photogravure, gravure chimique en relief pour la typographie, par procédés perfectionnés, médaille d'or de 1ʳᵉ classe au congres international des sciences géographiques, Paris, 1875. Diplôme et méd. [Diplôme et méd. means "diploma and medal"] aux expositions de Rome 1870, Londres 1872, Lyon 1872, et Vienne 1873, Paris 1874 et 1878, rue Thevenot, 6, pres la rue Saint-Denis.

English:    Yves and Barret, NCᵀ, photogravure, chemical engraving in relief for typography, using perfected processes, gold medal of 1st class at the International Congress of Geographic Sciences, Paris, 1875. Diploma and medal at the exhibitions of Rome 1870, London 1872, Lyon 1872, Vienna 1873, Paris 1874 and 1878, 6 Rue Thévenot, near rue Saint-Denis."

Temporary references

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• Congrès international de géographie (1875). "Liste des questions soumises au congrès international de 1875" [List of Questions Submitted to the 1875 International Congress]. Congrès international des sciences géographiques [International Congress of Geographical Sciences]. Paris: Société de géographie. Paris: Imprimeur de Wittersheim (Alfred Wittersheim; 1825–1881) – via BnF.

• Annuaire-almanach du commerce, de l’industrie, de la magistrature et de l’administration, ou almanach des 1,500,000 adresses de Paris, des départements et des pays étrangers [Directory-Almanac of Commerce, Industry, the Judiciary, and Administration, or Almanac of 1,500,000 Addresses of Paris, the Departments, and Foreign Countries] (Didot-Bottin). "Avec annuaire illustré des fabricants" ["With an Illustrated Directory of Manufacturers"]. Vol. 84 (84ᵉ année de la publication, 1881). A Paris, Chez Firmin-Didot et Cⁱᵉ, imprimeurs-libraires de l'institut, rue Jacob, 56. 1881. p. 1521.

1. BnF 9764647w
2. BnF 32695639f
3. LCCN sf86-91914
4. ISSN 2452-7246 (BnF)
5. ISSN 1770-6890 (HathiTrust)
6. ISSN 1770-6777
8. ISSN 1770-6882 ( ...et de Annuaire général du commerce, de l'industrie, de la magistrature et de l'administration [ ... and General Directory of Commerce, Industry, Judiciary and Administration].)
9. ISSN 2610-2897 (Becomes Annuaire du commerce Didot-Bottin [Didot-Bottin Business Directory].)
10. ISSN 3040-844X (Supplement: Album illustré de l'Almanach Didot-Bottin [Illustrated Album of the Didot-Bottin Almanac]: 1877–1879.)
    (Supplement: Annuaire illustré des fabricants [Illustrated Album of the Didot-Bottin Almanac]: 1880–1883.)
11. OCLC 8450268 (all editions), OCLC 472031623 (all editions), and 1125689879

The term "imprimeurs-libraires de l'institut" refers not merely to a professional designation, but to a prestigious affiliation with a leading intellectual body, such as the Institut de France. During the 19th century, printers and booksellers granted this title were recognized for their excellence and entrusted with producing scholarly works on behalf of esteemed academic institutions. This association highlighted the firm's distinguished role in France's intellectual and cultural life, elevating it beyond a standard commercial operation.

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In the image, the letters inside the box appear to be "NCt". Given the context of the advertisement, "NCt" could refer to a designation or an abbreviation related to the engraving or typography process, potentially representing a particular technique or certification that Yves and Barret used.

In this case, "NCt" could stand for something like "Nouvelle Chromotypie" (New Chromotypy) or a similar process related to photogravure or chemical engraving used at that time. While this abbreviation is not immediately clear from typical terminology, it may have been a proprietary term or specific to their technology.

Photoengraving innovation of Yves & Barret

In this 1870s French publication, Yves and Barret are credited with a significant innovation in the field of photogravure (a technique combining photography and engraving) on zinc plates, which allowed for the economical and industrial production of chemical engraving for printing.

Here’s a breakdown of what they innovated:

1. Photogravure on Zinc: The passage describes a process where any subject or drawing, created with ink or pencil on white paper, could be photographically reproduced and converted into a relief engraving on zinc. This type of engraving was designed for typographic (printing press) use.
2. Chemical Engraving Technique: Yves and Barret, along with Gillot, applied principles involving bichromated gelatin and bitumen of Judea (a light-sensitive substance) to industrialize this photogravure process. Their process allowed for the precise and cost-effective creation of engravings used in printing.
3. Innovation in Process:

• A zinc plate was coated with bitumen of Judea, and a photographic negative was applied to this surface.
• The plate was exposed to sunlight, transferring the image onto the bitumen.
• The image was developed using turpentine, which removed the bitumen from areas corresponding to the opaque parts of the negative, revealing a pattern on the zinc plate.
• The revealed areas were then chemically etched to create relief areas for printing: the black areas of the drawing remained in relief, while the white areas were etched away.

4. Advancement in Economical Production: Yves and Barret’s method improved the efficiency and affordability of producing these plates for printing, making it more accessible for industrial applications. The process could be repeated multiple times to ensure that tones and half-tones in the original drawing were accurately captured, a task requiring significant skill and experience.
5. Refinement with Resin Grains: Finally, the engravers would use resin grains to adjust the intensity of the tone, ensuring high-quality prints with detailed shading and textures. This method allowed for control over the gradation of tones in the final printed image.

The upshot is that Yves & Barret played a key role in developing and refining the use of photogravure on zinc for printing, making the process more industrially viable and economical, and allowing detailed reproduction of images for typographic use. This represented a major advancement in the field of chemical engraving during the time.

At the start of the 19th century, a technique gained popularity that involved transferring a drawing onto a lithographic stone from a special paper coated with a mix of starch and gelatin. This method, called autographic transfer, allowed artists to easily reproduce their drawings.

Firmin Gillot (1820–1872), a French printmaker (engraver) and inventor, took this a step further. On March 21, 1850, he patented an idea: instead of transferring the image to a stone, he transferred it to a zinc plate. Then, using acid to etch the image, he created raised surfaces on the plate where the drawn lines were. This technique transformed the flat image into a printing plate that could be used for relief printing, similar to traditional typesetting methods.

This process, a zincography innovation, became known as gillotage. It was also known as paniconography and eventually evolved into what we now recognize as typographic photogravure. It allowed for the mass production of images and text, playing a key role in the development of modern printing techniques by creating a link between artistic lithography and commercial printing methods. This breakthrough made it easier to reproduce intricate illustrations alongside text in publications, making it a precursor to the image printing we see today in books and newspapers. In 1951 – the 100th-year anniversary of Gillot's invention – Pierre de Gaulle (1897–1959) re-named rue de la Grotte after the inventor, rue Firmin-Gillot. Gillot's workshop was on this street; although, from 1863 to 1877, it was named rue Fondary, of Vaugirard, a former French commune that was annexed by Paris June 16, 1859.

• Gillot, Firmin (1852). Paniconographie de Gillot. Paris.{{cite book}}: CS1 maint: location missing publisher (link) OCLC 611401076 (all editions).

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• Gillot, Firmin (1875). Album de gravure paniconographique et photogravure [Album of paniconographic engraving and photogravure]. Paris: V^ve Gillot & Fils – via BnF Gallica. OCLC 723980104 (all editions), 457872186; 1007423573, 63641481, and 8443594.

V^ve is an abbreviation for veuve, meaning widow – Mélanie Félicité Eugénie Josèphe Cordier (1823–1910) – indicating that the business is being run by the widow. Fils means son – Charles Firmin Gillot.

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• Traité de lithographie [Treatise on Lithography]. La Maison Ch. Lorilleux & Cⁱᵉ (Charles Lorilleux; 1827–1893). 1889. pp. 19–20, 54, 160. BnF 5743370d; BnF 33628924n; OCLC 2436573 (all editions).

1. Via Gallica (BnF Gallica).
2. Via HathiTrust (University of Chicago).
3. Via Google Books (University of Chicago).

Temporary references

Commemorative medal of the solemn ceremony of distribution of awards given by the Society for the Protection of Apprentices and Children Employed in Factories which took place on October 27, 1867 at the Palais de l'Industrie of the Universal Exhibition in Paris under the presidency of Empress Eugénie. This side represents a crowned female figure in a benevolent posture towards five children working in factories, three boys and two girls.

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• Duruy, Édouard, secrétaire (1890). "Les arts graphiques à l'exposition de 1889" ["Graphic Arts at the 1889 Exhibition"]. "Rapport présenté à la Chambre syndicale des Industries diverses dans la séance du 19 novembre 1889" ["Report Presented to the Trade Union Chamber of Various Industries in the Session of November 19, 1889"]". In Société de protection des apprentis et des enfants employés dans les manufactures (ed.). Bulletin – Société de protection des apprentis et des enfants des manufactures [Society for the Protection of Apprentices and Children in Factories]. Paris: A. Chaix. p. 163.{{cite book}}: CS1 maint: multiple names: authors list (link)

See Société d'encouragement pour l'industrie nationale

Gillotage

Line blocks were first used in France in periodical publications such as L'Art pour tous (1861–1891) and Journal Avantscène. Two early examples appear in Claude Motteroz’s Essai, one created by Lefman and the other by Yves & Barret, who would go on to become one of France's leading producers of line blocks. The most famous book to feature the gillotage process in France was the 1882 edition of Francesco de Quevedo's Pablo de Segovia, illustrated by Daniel Vierge (1851–1904). However, the technique had already been employed in previous works such as Gustave Doré’s Ariosto (1879) and Albert Jacquemart’s Histoire du Mobilier (Paris, 1876). The latter was translated into English by Fanny Bury Palliser (1805–1878) as A History of Furniture, published by Chapman & Hall in 1878. This edition contains line blocks signed by Gillot and is considered one of the earliest English books to feature this process.

Different explanation of process

Since 1858, the time when Mr. Th. du Moncel presented his report, paniconography has made great progress, thanks to the efforts of the inventor Mr. Gillot, Mr. Lefmann and Messrs. Yves and Barrett, etc. The engravings of the Vie Parisienne and the Charivari provide excellent examples of this process: combined with heliogravure, which we discuss later, it gives more perfect results from day to day: the future belongs to it.

Fencing image

• La Caricature (Cover). « Ouverture d'un cours d'escrime au conservatoire, par A. Robida » ["Opening of a fencing course at the conservatory, by A. Robida"]. Vol. 2, n° 72. Albert Robida (1848–1926), editor-in-chief. Draner (pseudonym of Joseph Georges Renard; 1833–1926), cover artist. May 14, 1881 [14 mai 1881]. Retrieved October 12, 2024 – via Digital Collections, Northwestern University Libraries, Charles Deering McCormick Library of Special Collections.{{cite book}}: CS1 maint: others (link)

1. Via HathiTrust (Northwestern University).

• La Caricature (Cover). « Le forfait de l'adjudant quinté sixte » ["The Forfeit of Adjutant Quintésixte"]. Vol. 5, n° 236. Albert Robida (1848–1926), editor-in-chief. Draner (pseudonym of Joseph Georges Renard; 1833–1926), cover artist. July 5, 1884 [5 juillet 1884]. Retrieved October 12, 2024 – via Digital Collections, Northwestern University Libraries, Charles Deering McCormick Library of Special Collections.{{cite book}}: CS1 maint: others (link)

1. Via HathiTrust (Northwestern University).

• Part 1 (of 3): "L'Escrimeuse : premières passes". ["The Female Fencer: First Moves".] "Pays germaniques : une danse en plus musclé". ["Germanic Countries: A More Muscular Dance".] "A Paris : l’Affaire Bayard". ["In Paris: The Bayard Affair".] "En France : une figure qui reste marginale". ["In France: A Figure That Remains Marginal"]. (blog) Artifex in Opere – l'artiste se cache dans l'œuvre [The Artist in the Work – The Artist Hides Within the Creation]. August 9, 2020. Retrieved October 12, 2024 – via mysite.com → United Online Web Services, Inc., Woodland Hills.

• La Caricature. « Hamlet à la Comédie française » ["Hamlet at the Comédie-Française"]. Vol. 7, n° 356. Image engraved by Yves & Barret from a drawing by Albert Robida. October 23, 1886 [23 octobre 1886].{{cite book}}: CS1 maint: others (link)

See → Comédie-Française
1. Via HathiTrust (Northwestern University). p. 348.

• La Caricature. « Les hommes du jour, par Luque » ["The Men of the Day, by Luque"] « L'escrimeur Vigeant » ["The Fencer Vigeant"] « Duels de maîtres d'armes par Vigeant » ["Duels of Fencing Masters by Vigeant"]. Vol. 7, n° 357. October 30, 1886 [30 octobre 1886].

See → Manuel Luque
See → Arsène Vigeant
1. Via HathiTrust (Northwestern University). p. 355.

Poem (women's liberation, fencing)

La femme sous le plastron

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Robida 1880 ca.
Robida, probablement 1880

Astié de Valsayre avait beau prétendre, comme le montre la caricature de Robida, que l’escrime est excellente pour le développement de la poitrine, la question intrigue et déconcerte jusqu’aux poètes :

Escrime (21 décembre 1883)

« Chez nous l'Éternel Féminin
   A pris un essor léonin.
   Les femmes les plus délicates
          Sont avocates.

   D'autres, ayant le charme empreint
   Sur leur front, dont nous n'avions craint
   Que les oeillades assassines,
          Sont médecines.

   Celles-là, dont le vent mutin
   A follement, dès le matin,
   Baisé les boucles et les tresses,
          Sont les peintresses.

   Celles-ci, coeurs inexpliqués,
   Mettent en rhythmes compliqués
   Leurs mélodieuses tristesses
          De poétesses.

   D'autres par l'esprit le plus fin
   Nous ravissent. D'autres enfin,
   Et certes ce n'est pas un crime
          Font de l'escrime.

   Elles en font même très bien.
   Carolus Duran ne sait rien
   Vraiment que désormais ignore
          Ninette ou Laure.

   Ces tireurs, qu'Amour effleurait,
   Tiennent maintenant le fleuret,
   Enchaînant avec mille charmes
          Leurs phrases d'armes.

   Que n'as-tu pu voir, ô Balzac!
   Leurs ripostes du tac au tac,
   Leur jeu correct et leur mimique
          Académique!

   Aussi bien que l'homme hideux,
   Elles savent faire: Une! Deux!
   Quant à leurs attaques d'allonge,
          C'est comme un songe!

   Qu'elles mènent agilement
   Les changements d'engagement!
   Quand un homme est leur adversaire,
          Mon coeur se serre.

   Car bien vite mécontenté,
   Il est toujours au fond tenté
   De tomber aux pieds de ce sexe
          Et, tout perplexe,

   Il se sent devenir poltron
   À voir frémir sous le plastron,
   Comme une cruelle épigramme,
          Un sein de femme. »

   Théodore de Banville

The Woman Under the Breastplate

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Robida 1880 ca. Robida, probably 1880

Astié de Valsayre may well have claimed, as illustrated in Robida’s caricature, that fencing is excellent for chest development, but the question both intrigues and confounds even poets:

Fencing (December 21, 1883)

"At home, the Eternal Feminine
Has taken a leonine flight.
The most delicate women
       Are now lawyers.

Others, with a charm imprinted
On their brows, whose gazes
We once feared as murderous,
       Are now doctors.

Those whose playful breeze
Kisses the curls and tresses
Wildly from the morning,
       Are now painters.

And some, with mysterious hearts,
Compose their melodious sorrows
Into intricate rhythms,
       As poets.

Others, with the finest wit,
Captivate us. Others, finally,
And certainly, it is no crime,
       Practice fencing.

And they do it very well.
Carolus Duran truly knows
Nothing now that Ninette or Laure
       Haven’t mastered.

These fencers, once brushed by Love,
Now hold the foil,
Weaving their phrases of arms
       With a thousand charms.

Oh, Balzac! If only you could see
Their quick ripostes,
Their proper form and academic
       Expressions!

As well as any ugly man,
They know how to strike: One! Two!
And their extended lunges—
       Like a dream!

How skillfully they lead
The changes of engagement!
When a man is their opponent,
       My heart clenches.

For he quickly grows frustrated,
Always tempted deep down
To fall at the feet of this sex,
       And, utterly perplexed,

He feels himself become cowardly,
Seeing the trembling beneath the plastron,
Like a cruel epigram,

       A woman’s breast."

This poem humorously reflects on the rise of women in professional and artistic fields, including fencing, which was traditionally male-dominated. It playfully acknowledges their competence and the disarming effect they have on their male opponents.

Gallery I

Link

• Yves & Barret
• 
  Jean-François Millet (1814–1875), illustrated by Alfred Sensier (1815–1877) (1880)
• 
  Jean-François Millet (1814–1875), illustrated by Alfred Sensier (1815–1877) (1880)
• 
  Fernando Circus (Yves & Barret, engravers).
• 
  Fernando Circus (Yves & Barret, engravers).
• 
  "Fantine-Essler & Cosette-Daubray". La Revue comique des théâtres et concerts. N°7. May 19, 1878.
• 
  "Fantine-Essler & Cosette-Daubray". La Revue comique des théâtres et concerts. N°7. May 19, 1878.
• 
  Émile Zola (1840–1902), holding a copy of Le Voltaire with a headline bearing the title of his 1880 novel, Nana.
  Alexandre Bloch (1857–1919), artist. Published June 8, 1879.
• 
• 
• 
  Vigeant vs. Valsayre?
  Albert Robida, artist.
• 
• 
• 
• 
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  Jolies filles et jolies toilettes [Pretty girls and pretty clothes]
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• 
• 
• 
  Auguste Vacquerie.
  "Ci-dessus, esprit fin, cœur droit, vaillante plume, L'auteur de Jean Baudry, le succès qu'on reprend. Son œuvre de lumière en deux mots se résume : « éclaireur au journal ; au théâtre éclairant »" ["Above all, a sharp mind, a just heart, a courageous pen, the author of Jean Baudry [1863], the success one reclaims. His luminous work can be summed up in a few words: 'A beacon in journalism; illuminating in theater'"].
• 
• 
• 
  "Maison spéciale de deuil à la religieuse, 2, rue Tronchet et place de la Madeleine. Agrandissements des magasins" ["Special Mourning House for Nuns, 2 rue Tronchet and Place de la Madeleine. Expansion of the Stores"].
• 
  "Tout le monde juré, par Poll, Paris Musées" ["Everyone sworn, by Poll, Paris Museums"].
• 
  A comical interaction showing a physician holding the hand of Lucinde, who is pretending to be ill – Act III, Scene VI – from Molière's play L'amour médecin. Line block by Yves & Barret after Alexandre-Louis Leloir (1843–1884).
• 
  "Actualités"
  ["Current Events"]
  "Trouver 41 milliards ! Faut-il être fort ! Moi qui ne peux pas trouver seulement dix francs !" ["To find 41 billion! You have to be really strong! I can't even find just ten francs!"]
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• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
  Auguste Vacquerie, caricature by André Gill in L'Éclipse (November 3, 1872). Engraved by Yves and Barret. (Victor Hugo Museum, Paris.)
• 
• 
  Yves & Barret, engraver. André Gill (1840–1885), illustrator (1781). Caricature of Léon Gambetta, French republican statesman, leaning on the back of a chair and looking up at vignettes of himself. He escaped the Siege of Paris in the balloon, "L'Armand Barbes" October 7, 1870.
• 
• 
  Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].
• 
  "Au théâtre en été :" – "Ouvreuse, « je quitte ça. Il fait si chaud ! »" ["Usherette, 'I'm leaving this. It's so hot!'"], From Le Charivari, 24 July 1872.
• 
  Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
• 
  Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
• 
  Grands prix de Paris pour l'amélioration des races masculines, féminines et autres. — Grand défilé des vainqueurs, par A Robida [Grand prizes of Paris for the improvement of male, female, and other races. — Grand parade of the winners, by Albert Robida].
• 
• 
  Almanach des Muses (Yves & Barret, engravers)
• 
  "Châtiment". "Souvenir de la nuit du 4" ["Punishment". "Memory of the night of the 4th"]. Handwritten note: "'L'enfant reçu deux balles dans la tête'. Victor Hugo" ["'The child had received two bullets in the head'. Victor Hugo"] (1994).
• 
  "Plus cher qu'au bureau — par Gill" ["More Expensive Than at the Office - by Gill"]. "M. Meurice" (1877).
• 
  "Plus cher qu'au bureau — par Gill" ["More Expensive Than at the Office - by Gill"]. "M. Meurice" (1877).
• 
  "Mon musée des souverains" ["My museum of sovereigns"]. en:Henri III "Le fondateur de la maison Sanfourche et l'inventeur des petits crevés" ["The founder of the Sanfourche house and the inventor of the 'petits crevés'"]
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  "Les agrandissements de la ville de Saint-Denis" ["The Expansions of the City of Saint-Denis"] "Vue de la nouvelle entrée monumentale" ["View of the New Monumental Entrance"] (1881).
• 
  "Le calendrier de La caricature — par A Robida" ["The caricature calendar — by A Robida"] (1881).
• 
  Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].
• 
  Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].
• 
  Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy].
• 
  Là-bas dans l'île [Over on the Island]. By André Gill, Illustration de périodique (September 1878).{{cite book}}: CS1 maint: others (link).

Gallery II

• Yves & Barret. From Le Charivari. \
• 
• 
  9 April 1872
• 
  "Au théâtre en été :" – "Ouvreuse, « je quitte ça. Il fait si chaud ! »" ["Usherette, 'I'm leaving this. It's so hot!'"], 24 July 1872.
• 
  "Actualités"
  ["Current Events"]
  "Trouver 41 milliards ! Faut-il être fort ! Moi qui ne peux pas trouver seulement dix francs !" ["To find 41 billion! You have to be really strong! I can't even find just ten francs!"], 1 August 1872.
• 
  28 August 1872
• 
  30 August 1872
• 
  10 September 1872
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  Paul Bernay; 13 September 1872
• 
  16 September 1872
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  1 October 1872
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  5 October 1872
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  14 October 1872
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  19 October 1872
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  23 October 1872
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  1 November 1872
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  6 November 1872
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  16 November 1872
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  4 December 1872
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  11 December 1872
• 
  12 December 1872
• 
  13 December 1872
• 
  24 December 1872
• 
  21 April 1873
• 
  13 June 1873
• 
  16 July 1873

Notes

Top Row (left to right):

1. François-Vincent Raspail (1794–1878): A chemist, physician, and politician known for his republican beliefs.
2. Charles Floquet (1828–1896): A lawyer and politician, known for his republican stance and opposition to the monarchy.
3. Victor Hugo (1802–1885): A renowned writer, poet, and politician, a major advocate for republicanism and social justice.
4. Louis Blanc (1811–1882): A historian and politician, he was a socialist who advocated for workers' rights.
5. Jules Grévy (1807–1891): A prominent republican and eventually President of the French Republic.
6. Émile de Girardin (1802–1881): A journalist and politician, here depicted blowing a trumpet, known for pioneering mass-circulation newspapers.
7. Adolphe Thiers (1797–1877): A historian, politician, and the first President of the French Third Republic.
8. Henri Tolain (1828–1897): A French socialist, worker’s rights advocate, and politician.
9. Léon Gambetta (1838–1882) (looking up at Thiers): A lawyer and republican leader, key in the Third Republic’s establishment.
10. Isaac-Jacob Crémieux (1796–1880): A French lawyer and politician, known for his advocacy for Jewish rights.
11. Émile-Louis-Gustave Deshayes de Marcère (1828–1918): He served as a deputy in the National Assembly from 1871 to 1884. Marcère held the position of Minister of the Interior in 1876 and 1878, continuing briefly in the Waddington ministry of 1879. In 1884, he was appointed as a senator for life (sénateur inamovible). He also served as mayor of Messei from 1892 to 1912. At his death in 1918, he was the last surviving senator for life of the Third Republic.
12. Jules Simon (1814–1896): A philosopher and politician, who served as Prime Minister under the early Third Republic.
13. Le Figaro: Representing the newspaper Le Figaro, which often took conservative stances during the period.

Bottom Row (left to right):

1. Paul de Cassagnac (1842–1904): Donning a mustache – a journalist and staunch Bonapartist, known for his fierce opposition to the republicans.
2. Eugène Rouher (1814–1884): A conservative politician and strong supporter of the Bonapartist cause.
3. Albert de Broglie (1821–1901): A conservative statesman and a member of the aristocratic Broglie family.
4. Auguste Paris (1826–1896): Possibly a lesser-known figure; further information may be challenging to locate.
5. Oscar Bardi de Fourtou (1836–1897): A conservative politician, serving in various ministerial roles during the late Second Empire and early Third Republic.
6. Joseph Brunet (1829–1891).
7. Louis Decazes (1819–1886): A diplomat and politician, serving in roles like Foreign Minister.
8. Eugène Caillaux (1822–1896): A politician and father of Joseph Caillaux (1863–1944), an important figure in early 20th-century French politics.
9. Camille de Meaux (1830–1907): A politician known for his moderate conservative views.

Top row (left to right): Raspail, Floquet, Hugo, Blanc, Grévy, Girardin (blowing a trumpet), Thiers, Tolain, Gambetta, Crémieux, Marcére, Simon, Le Figero (stocking cap)

Bottom row (left to right): Cassagnac, Rouher, Broglie, Auguste Paris, Fourtou, Brunet, Louis Decazes, Eugéne Caillaux, Camille Meaux.

Satirical political cartoon titled "Le Jugement Dernier" (The Last Judgment), dated 14 October – 14 December 1877, created by André Gill, a notable French caricaturist. The dates are significant in French history as they relate to the crisis of 16 May 1877, which marked a critical point in the struggle between the French Third Republic's republican government and monarchist factions.
Here's a breakdown of the historical significance:

1. 16 May 1877 Crisis: On May 16, 1877, the conservative president of France, Marshal Patrice de MacMahon (1808–1893), dismissed the Prime Minister Jules Simon (1814–1896) (a moderate republican) and appointed a more conservative successor. This action led to a constitutional crisis, as it represented an attempt by monarchist and conservative forces to regain control and shift the Third Republic toward a more authoritarian regime.
2. 14 October 1877: This date marked the beginning of the legislative elections in France, following a period of intense political turmoil. The elections were a response to the ongoing power struggle and were crucial in determining the direction of the Republic.
3. 14 December 1877: By this date, the political conflict had mostly concluded, with republican forces gaining a decisive victory. President MacMahon had to concede and ultimately step down in January 1879, marking a republican consolidation of power in the French government.

People in the Poster: The caricature features numerous recognizable figures from the French political scene of that period, particularly prominent political, military, and clerical figures involved in the crisis. Here’s a general idea of who might be depicted:

• Patrice de MacMahon: Likely represented as a central figure, given his role in the crisis. He was at odds with the republicans and represents the conservative, monarchist push.
• Jules Grévy (1807–1891) and Léon Gambetta (1838–1882): Leading republican figures who fought against MacMahon's conservative policies and were instrumental in securing the Republic.
• Clerical Figures: Likely present to satirize the influence of the Catholic Church, which was aligned with conservative and monarchist interests in France.

André Gill's use of caricature here draws on the imagery of Michelangelo's Last Judgment in the Sistine Chapel, adding a layer of irony by portraying these political figures in a divine or judgment-like setting, commenting on their political fates and their "moral judgment" in the eyes of the public. The humor and criticism reflect the public sentiment of the time, with the republicans ultimately emerging as the "triumphant" side in this grand "judgment." The poster’s intent was likely to mock the political upheaval and present the election as a form of ultimate reckoning, with the republican forces gaining the upper hand in France’s political destiny. This artwork would have been accessible to the general public, emphasizing the cartoonist’s critique of political events through easily recognizable figures and themes.

Items to look for

• Le roi René et Jeanne de Laval, d'après un diptyque ayant appartenu autrefois à la famille Matheron, actuellement à M. Chazaud, in-8, reproduit dans « L'iconographie du roi René » par Eugène Hucher (fr) (1814–1889), gravé (ou gravé à l'eau-forte ou photogravure) par Yves et Barret [King René (1409–1480) and Jeanne de Laval (1433–1498), after (copying) a diptych that once belonged to the Matheron family, currently to M. Chazaud, in-8, reproduced in "L'iconographie du roi René" by Eugène Hucher, engraved (or etched or photoengraved) by Yves & Barret]]. 1879. OCLC 11286352 (all editions).

1. Via Internet Archive (Kansas City Public Library). Retrieved October 5, 2024.
2. Via Google Books (NYPL). Retrieved October 5, 2024.

King René (1409–1480) and his second wife, Jeanne de Laval (1433–1498), after a diptych formerly belonging to the Matheron family (Philippe Matheron?? (1807–1899), now to M. Chazaud, in-8, reproduced in the Iconography of King René by Eugène Hucher (fr) (1814–1889) (signed E. H. and Yves and Barret), and in the Memoirs of Commines, ed. Chantelauze, Paris, Didot, 1881, p. 309 (signed Huyot).

On the reverse a crowned lily stem, surrounded by a banner bearing the motto of Jean de Matheron, Ditat servata fides [Latin: Faith kept enriches]. Given by King René to Jean Matheron de Salignac (fr) (1440–1495), President of La Cour des maîtres rationaux de Provence (fr) (The Court of Rational Masters of Provence (fr)).

the piece has been preserved to this day by the Matheron family, whose last descendant is Madame the Countess of Saint-Pons, born of Wolant de Matheron, who sold it to Mr. Chazaud in 1872.

---

Ces deux portraits sont bien ceux dont il est question dans les extraits ci-dessus mentionnés ; en dernier lieu ils étaient la possession de Mme la comtesse de Saint-Pons, dernier descendant de la famille Matheron, qui les a cédés à feu M. Chazaud avec l'attestation suivante :

«  Veudu à M. Chazaud un diptyque représentant le roi René et Jeanne de Laval, sa femme, peint sur bois, donne à Jean de Matheron, l'un de mes ancetres, à l'occasion du baptême de son fils dont il était le parrain. »

« Ce diptyque est enfermé dans un sac de velours rouge, et conservé dans ma famille tel qu'il a été offert. Aix, le 5 octobre 1872. Signe : Julie de Wolant de Matheron, veuve de Saint-Pons. »

Depuis 1872, ce même diptyque appartenait it feu M. Chazaud, de Ia succession duquel il dépend encore aujourd'hui.

Haut., 18 cent.; larg., 28 cent.

---

These two portraits are indeed the ones mentioned in the above excerpts; they were last in the possession of the Countess of Saint-Pons, the last descendant of the Matheron family, who transferred them to the late Mr. Chazaud with the following attestation:

"Sold to Mr. Chazaud, a diptych representing King René and and is wife, Jeanne de Laval, painted on wood, originally given to Jean de Matheron, one of my ancestors, on the occasion of the baptism of one of Jean's sons, René de Matheron (c. 1450 – c. 1532), who also is a godson of King René."

"This diptych is enclosed in a red velvet bag and has been preserved in my family as it was offered. Aix, October 5, 1872. Signed: Julie de Wolant de Matheron, widow of Saint-Pons."

Since 1872, this same diptych belonged to the late Mr. Chazaud, from whose estate it still depends today.

Height: 18 cm; Width: 28 cm.

---

Français: M. Champollion-Figeac qui se trompait quelquefois dans ses appréciations, voulait que le portrait de femme du diptyque fût celui d'une maîtresse de René nommée Capelle. Mais cette assertion ne repose sur aucune preuve et doit être reléguée au rang des hypothèses les moins vraisemblables.

Cf. Les Tournois du roi René, publiés par Champollion-Figeac, Firmin Didot, Dubois et Motte, in-fol., 1820, où il est question non du diptyque original que nous reproduisons, mais d'une copie exécutée par M. Révoil ou d'après ses ordres.

Cf. Encore, Histoire des Rues d'Aix, par M. Roux Alphéran. Mais il existe une raison qui nous semble péremptoire et que M. Chazaud n'a pas manqué de faire valoir en partie, en rapprochant le diptyque de la famille Matheron, du triptyque d'Aix, c'est que la femme représentée dans le diptyque a les mêmes yeux à la chinoise que la Jeanne incontestable et connue du triptyque d'Aix. Aujourd'hui que nous avons sous les yeux les photogravures des deux peintures, le plus léger doute n'est plus possible.

---

English: Mr Champollion-Figeac [1778–1867], who was sometimes mistaken in his assessments, claimed that the portrait of the woman in the diptych was that of one of René’s mistresses named Capelle. But this assertion is based on no evidence and must be relegated to the rank of the least plausible hypotheses.

Cf. Les Tournois du roi René, published by (i) Champollion-Figeac, (ii) Firmin Didot, (iii) [Léon-Jean-Joseph] Dubois [1780–1846], and (iv) [Charles Étienne Pierre] Motte [1784–1836], in-folio, 1820 [OCLC 79942749 (all editions), OCLC 1415314951 (all editions), and 457468835], where it is not the original diptych we reproduce that is discussed, but a copy made by [Pierre Henri] Révoil [1776–1842] or according to his instructions.

Cf. Also, Histoire des Rues d'Aix [Les rues d'Aix : ou, Recherches historiques sur l'ancienne capitale de la Provence (1848)], by [Ambroise] Roux Alphéran [1776–1858] [OCLC 680430436 (all editions)]. However, there is a reason that seems compelling to us, and which M. Chazaud did not fail to partly highlight, by comparing the Matheron family’s diptych with the triptych from Aix: it is that the woman represented in the diptych has the same almond-shaped eyes as the undisputed and well-known Jeanne from the Aix triptych. Today, with the photogravures of both paintings in front of us, the slightest doubt is no longer possible.

---

Photos

• Yves & Barret Maps
• 

Maps

• Yves & Barret Maps
• 
  Carte de la Fraternité européenne [Map of European Brotherhood] (Yves & Barret, engravers, 1875).
• 
  Carte de la Fraternité européenne [Map of European Brotherhood] (Yves & Barret, engravers, 1875).
• 
  L'Europe en ce moment – fantaisie politico-géographique [Europe at the Moment – A Politico-Geographical Fantasy] (Yves & Barret, engravers, 1872).
• 
  Nouvelle Géographie du Pays du Tendre [New Geography of the Land of Tenderness] (1881).
• 
  Nouvelle géographie du Pays du Tendre. — 2ᵐᵉ carte : Province du High-Life (voir la carte générale et le texte [New Geography of the Land of Tenderness. — 2nd Map: Province of High Life] (Yves & Barret, engravers, 1881).
• 
  Nouvelle carte de France, d'après les dernières découvertes des savants et des explorateurs — par A. Robida [New map of France, based on the latest discoveries by scholars and explorers — by Albert Robida].
• 
  "Grand panorama de la bonne ville de Paris, peint à l'huile fine, par A. Robida" [Grand panorama of the fine city of Paris, painted in fine oil, by A. Robida"].
• 
  Carte du Mexique
• 
  Plan de la ville, faubourgs et cité de Limoges, 1785, après la démolition de ses murs, portes et tours, effectuée en 1765 et 1766 (celle du Verdurier en 1785) [Map of the Town, Suburbs and City of Limoges, 1785, After the Demolition of its Walls, Gates and Towers, Carried out in 1765 and 1766 (that of Verdurier in 1785)].
• 
  Massif du Mont Blanc
  Extrait des minutes de la Carte de France [Extract from the minutes of the Map of France] – Levé par Mʳ. Mieulet, Cap^ne. d'Etat Major – [Surveyed by Mr. (Jean-Joseph) Mieulet (1830–1897), Captain of the General Staff] – Publié par ordre de S[on] E[xcellence] le M^al. [Maréchal] Randon, Ministre de la Guerre – [Published by order of His Excellency Marshal Randon (1795–1871), Minister of War]

  ---

  Gravé par Erhard Schiéble rue Duguay-Trouin 12 [Engraved by Erhard Schiéble (1821–1880) rue Duguay-Trouin 12]

  ---

  Gravure en relief de Yves et Barret, rue Thévenot, 6.

  ---

  Imprimerie Vᵉ Éthiou-Pérou [Éthiou Pérou Printing House, Widow Éthiou Pérou (widow of Gustave Prosper Jean Ethiou Peron; 1820)], rue Damiette, 2 et 4. (1865).

Map notes

• Mexico:

Gravée le trait et la lettre par Teyssier, le figure du terrain et les eaux par Henri Girard.

Paris — Imprimerie Vᵉ Éthiou-Pérou, rue Damiette, 2 et 4.

Gravée en relief par Yves et Barret.

• La Vie Parisienne (March 9, 1872). Ou Peut Mener La Question de l'Alabama? Fantaisie Prusso – Americaine en Deux Hemispheres [Where Could the Alabama Matter Lead? – German-American Fantasy in Two Hemispheres]. Vol. 10. Louis Ernest Lesage (1847–1919). Yves & Barret, engravers. pp. 152–153 – via Cornell University. JSTOR community.19343498; OCLC 10114892818 (all editions).

This French satirical map, published in La Vie Parisienne, reflects an Anglo-American dispute stemming from the U.S. Civil War. At the time, the Confederate naval strategy involved attacking Union commercial ships, with some vessels being repurposed for this cause. However, an agent in Liverpool, James Dunwoody Bulloch (1823–1901), was also secretly overseeing the construction of two new warships for the Confederacy, violating both British law and the nation’s neutrality declaration. These ships, resembling Royal Navy gunboats with clear gun ports, were defended as lawful because they hadn’t yet been fitted with weapons.

Despite this defense, in March 1862, the first ship, Oreto, sailed to Nassau, where it was armed and renamed the CSS Florida. The second, a larger vessel, Enrica, left Liverpool for sea trials in July 1862—just as the British government decided to halt its delivery. The Enrica soon reached the Azores, where it was fully equipped and renamed the CSS Alabama. Over the next two years, the Florida and Alabama devastated Union shipping, with the Alabama alone capturing or destroying 69 vessels, and the Florida another 38.

After the war, in 1869, facing substantial debt, the U.S. demanded compensation from Britain for its involvement. Senator Charles Sumner (1811–1874), The Chairman of the Senate Foreign Relations Committee suggested a $2 billion payment or the cession of Canada. With rising tensions in Europe due to Germany’s growing power, Britain sought to improve relations with the U.S., leading to the 1871 arbitration tribunal known as the Alabama Claims. The U.S. was ultimately awarded $15.5 million —

• equivalent to $33 billion today
• [equivalent to $394,217,000 in 2023]
• [$352 million].
  This map was published shortly after the announcement of the arbitration agreement.

• LCCN ppmsca.02588.
• LCCN 2002-724882.

• * Black & White version published in: Marcelin (aka Émile Planat; 1829–1887) [in French], ed. (December 24, 1881). "Haute Bicherie – Basse Bicherie" [Fashionable Prostitution – Harlotry]. La Vie Parisienne (weekly). "Mœurs élégantes, choses du jour, fantaisies, voyages, théâtres-musique-beaux-arts, sport-modes" [Elegant manners, current affairs, fantasies, travels, theater-music-fine arts, sports-fashions] (in French). 19 (52): 748–749, 751.{{cite journal}}: CS1 maint: multiple names: editors list (link) CS1 maint: numeric names: editors list (link) Retrieved October 8, 2024. OCLC 6236763 (all editions) (journal); OCLC 953572701 (uncolored map).

1. Via Gallica (BnF → Gallica). (Free Access)

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New article

Pen Drawing Versus Etching

Joseph Pennell (1857–1926)

January 8, 1890

MR. [Philip Gilbert] HAMERTON, writing in the P.M.G. of December 30, has criticized certain tendencies in my book on pen drawing. But before attempting to answer him, I must say that to be criticized by him is an honor, for it must be universally acknowledged that be is almost the only man now writing on current art whose opinions are based upon practical and technical knowledge, and whose conclusions therefore carry any weight, and though I may not in this case agree with Mr. Hamerton, I at any rate feel it my duty to show good reasons for my disagreement. He implies that l have not given sufficient credit to the "able artists" who etch the plates called photogravures from pen drawings. Considering that I devoted six pages to a list of illustrations which gave prominence to the names of the engravers whenever I was certain who made the plates; considering that I have devoted a whole chapter to the reproduction of pen drawings, and all through the book have praised the work of artists like Amand-Durand [Charles Amand-Durand (1869–1905) Wikidata Q27091481], who does far the best work in what is commonly known as photogravure; that I have repeatedly and most emphatically commended such photo-etchers as Louis Chefdeville, Yves et Barret, A and C. Dawson, the [Charles Lennox] Wright [(1852–1901)] Gravure Company, and many others; I really fail to see how Mr. Hamerton can imply that I have not given these men sufficient credit. But when Mr. Hamerton takes up your reviewer's statement (and by the way your review of my book and that of the Scots Observer are the only ones I have yet seen worth serious consideration) that

"Thanks to the invention of photo-engraving pen drawing takes the place of etching," and says – "what are commonly called photo-gravures from pen drawings are, in fact, etchings done by skilled specialists. Photography only serves the intermediate purpose of transferring the drawing to the copper (or bronze); it does not attack the metal. This is done afterwards by a skilled etcher, who bites the plate much in the old-fashioned way."

I must beg leave to differ altogether from him. There is no reason why the drawing should he photographed on to the copper or bronze; it may be grown by electro-deposition, or it may find itself on the plate in one of a number of other ways, all of which are described in Mr. H. [Henry] Trueman [Wright] Wood's Modern Methods of Illustrating Books. But let us suppose that the system employed is, as Mr. Hamerton says, that of photographing the drawing directly on the copper or bronze, the method, I believe (although the process is supposed to be a secret), of Amand-Durand and Dujardin, and that it is then bitten, much in the old-fashioned way; the real difficulty of etching has been entirely overcome. The auto-graphic etcher not only has to make his drawing on the copper plate, but he has to arrange every line on it so that when the plate is bitten and the strongest lines enlarged by the biting, the printed proof will render, not the drawing, which the artist makes with a needle on the plate, but the result he intends it shall print. On the contrary, the photo-etcher merely must reproduce perfectly in the copper the finished drawing supplied him by the artist. The drawing is photographed on the plate, and he is thus saved the enormous drudgery of reversing it. He only has to bite the lines as they appear in the drawing now photographed on the plate, with the original drawing by his side to guide him-a very simple matter, I say a very simple matter, though only a skilled specialist can do it, but he does it every time. Of course if the lines are not of the required depth be may have to rebite the plate, but this presents no difficulty to him; to the autographic etcher working in the old-fashioned way it is one of the most tedious and dangerous of operations. Therefore, I cannot agree with Mr. Hamerton that it would be perfectly" legitimate to call these photogravures etchings, even though it were understood that the drawing was due to the draughtsman and the biting to the engraver." The photo-etcher must have artistic feeling-he must understand the drawing; but the probability is he could neither make the drawing himself nor even transfer it to the plate without mechanical aid. Nor can I grant the "able artists" who produce these plates an equal rank with the autographic etcher, who reproduces another man's work by his own skill and no scientific props.

In fact, there is every reason to keep on calling these plates photogravures and not etchings-able specialists as the men are who produce them, Their art is essentially different from that of the autographic etcher. And the calling of these plates etchings is a deception. So too is it a deception for the draughtsman to call his drawings etchings when reproduced in this manner, even though he or the photo-etcher may work on the plate.

The results of etching and photogravure are equally good, and to the artist equally valuable, and at their best, it is almost impossible to distinguish them. I hope Mr. Hamerton will not object to my calling these points to his attention, because I know he has as much love for etching and pen drawing as I have; but from not living in London be escapes seeing all the disgusting tricks of the trade, to some of which his letter unintentionally may give encouragement.

Another article

THE WHISTLER JOURNAL Tallant's in Mayfair was not far from Heinemann s house in Norfolk Street. In it one was conscious of what Whistler described as the "lovely respectability of the British family hotel." This autumn Whistler was so extremely worried about his health that only occasionally was he in really good form, only occasionally did he talk in the old fashion. The Journal from this time on, is more than ever the record of his health which it had begun to be the year before.

Wednesday, November 13th. Whistler and the Janviers came to dinner. Whistler made a captive of Mrs. Janvier to whom he told his story of the Roman cake in Corsica, so that after dinner she literally got him in a corner by the fire, while I talked to Janvier and Chefdeville who came in with his son. Whistler had arrived, to his horror, in a little rain that began suddenly as he was on his way here from Charing-Cross Station, and Augustine had taken him in the dining room and helped him off with his shoes and lent him her slippers which, for fear he might mind, she said were Joseph s. And in her slippers, with anything but "dandy" feet he spent the rest of the evening.

Louis Chefdeville was a most interesting French artist who, in the early Eighties, took up photo-engraving and made, during his life time, which was a stormy one, some of the most interesting line and half-tone blocks ever printed in France and England. He did a great deal, especially in England where he lived for years and until his death, to advance the art of photo-engraving.

Liquidation

Rue Thévenot (now Rue Réaumur). 26 Quilbeuf (1860).

Rue Thévenot (now Rue Réaumur) (1900).

Nº 6 and Nº 8, Rue Thévenot (now Rue Réaumur), 3rd arrondissement. Jules Gaildrau (1816–1998), artist (1892).

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Chromotypographie
Yves
Gravure
Chimique
En Relief.

Français : Paris (January 1, 1886) — Liquidation de la société Yves Barret, exploitation d'un fonds de photogravure, sis à Paris, rue Thévenot, 6.

English: Paris (January 1, 1886) — Liquidation of the company Yves Barret, operating a photoengraving business, located in Paris, rue Thévenot, 6.

Other

Français : (March 25, 1895) Par suite de l'expropriation de la rue Thévenot pour le prolongement de la rue Réaumur, la maison de photogravure A. Yves :  « Aux Arts graphiques » (ancienne maison Yves et Barret), ci-devant, 6, rue Thévenot, est transférée 10, rue Beauregard, près la rue Poissonnière.

English: (March 25, 1895) Due to the expropriation of rue Thévenot for the extension of rue Réaumur, the photogravure house A. Yves: "Aux Arts graphiques" ("The Graphics Arts") (formerly the house of Yves and Barret), formerly at 6 rue Thévenot, has been relocated to 10 rue Beauregard, near rue Poissonnière.

• "Mort Subite" [Sudden Death]. Le Journal. Vol. 4 (Quatrième année), Nº 970. March 25, 1895. p. 4 (column 4, middle).

Paris directories

• Annuaire-Almanach du Commerce Didot-Bottin.

This directory, commonly known as the "Bottin," was published annually and is one of the most comprehensive commercial directories from the period. It covers Paris businesses, trades, and industries, including engravers and artisans. Bottin from the 1860s through 1890 should provide listings for companies like "Yves & Barret."

Available at libraries or through Gallica, the digital library of the Bibliothèque nationale de France (BnF).

• Le Guide Indicatif et Alphabétique de Paris.

Another useful directory for finding addresses and names of businesses in Paris during this era, including engravers. It was similar to the Didot-Bottin but also emphasized individual residential listings, so it could help identify the first names associated with firms.

• Archives de Paris.

The Archives de Paris houses various historical documents, including trade directories, legal documents, and notary records, which may include details about business partnerships like "Yves & Barret."

You can visit their website or contact them for help accessing specific documents.

• Almanach Général de Paris.

This directory includes a list of artisans and trades, and it may include engravers like "Yves & Barret." This could provide clues to both partners' first names and additional business information.

Selected works

• Courtot, Ch. (électricien); Courtot, J.C. (1878). Manuel de physique, électricité statique et voltaïque, thermo-électricité, magnétisme, électro-magnétisme, induction, etc [Manual of Physics, Static and Voltaic Electricity, Thermo-Electricity, Magnetism, Electro-Magnetism, Induction, etc.] (in French). Ouvrage illustré de 103 figures intercalées dans le texte, gravées par MM. Yves et Barret [Work illustrated with 103 figures inserted in the text, engraved by Messrs. Yves & Barret] (3rd ed.). Paris: Ch. Courtot, constructeur-mécanicien; 75, rue Caumartin. OCLC 1404688221 (all editions)

1. Via BnF (Gallica).

Bibliography

References

Cercle de la librairie

• Congrès national du livre [National Book Congress] (Comité d'organisation : Société des gens de lettres, Cercle de la librairie, Comité du livre [Organizing Committee: Society of Men of Letters, Booksellers' Circle, Book Committee). Tome 1: "Rapports et vœux" [Vol. 1: "Reports and Wishes"]. Paris: Cercle de la librairie, de l'imprimerie, de la papeterie, du commerce de la musique et des estampes, 117 boulevard Saint-Germain, 117. Paris: Imprimerie de J. Dumoulin; 5, rue des Grands-Augustins, 5. March 11–17, 1917. Retrieved October 17, 2024.

1. Via BnF (Gallica). p. 141.

• Lostalot, Alfred de (1837–1909) → Wikidata (1882). Les Procédés la Graveur (Nouvelle ed.). Bibliothèque de l'enseignement des beaux-arts.{{cite book}}: CS1 maint: numeric names: authors list (link) Retrieved October 17, 2924. LCCN 32-34470, LCCN 85-119394, LCCN 85-124638, LCCN 81-209282; OCLC 2993368 (all editions).

1. Via BnF (Gallica).
2. Via Commons (PDF) (Getty).
3. Via Commons (PDF) (Getty).
4. Via Google Books (Columbia).

• Béraldi, Henri (1885–1892). Les graveurs du XIXᵉ siècle guide de l'amateur d'estampes modernes [19th Century Engravers: A Guide for Modern Print Lovers] (12 Vols.). Paris: Librairie L. Conquet, 5. rue Drouot, 5 (Léon Conquet; 1848–1897). Retrieved October 17, 2924.

1. Vol. 1: "Abbema – Belhatte" (Michigan). 1885.
2. Vol. 2: "Bellangé – Bovinet" (Columbia). 1885.
3. Vol. 3: "Bracquemond" (Minnesota). 1885.
4. Vol. 4: "Brascassat – Chéret" (Michigan). 1886.
5. Vol. 5: "Cherrier – Dien" (Columbia). 1886.
6. Vol. 6: "Doré – Gavard" (BSB). 1887.
7. Vol. 7: "Gavarni – Guérard" (Columbia). 1888.
8. Vol. 8: "Guérin – Lacoste" (Michigan). 1889.
9. Vol. 9: "Laemlein – Mécou" (Columbia). 1889.
10. Vol. 10: "Messonier – Piguet" (BML). 1890.
11. Vol. 11: "Pillement – Saint-Èvre" (Columbia). 1891.
12. Vol. 12: "Saint-Marcel – Zwinger" (Michigan). 1892.

• Degeorge, Léon, ed. (January 1, 1886). « Liquidation de sociétés » Bulletin de l'imprimerie et de la libraire : revue hebdomadaire [Printing and Bookselling Bulletin: Weekly Review] (in French). Vol. 12 (Douzième année), Nº 173. À M. Léon Degeorge, Directeur-gérant. p. 784. OCLC 1448014231 (all editions).

1. p. 784.

• Fromentin, Eugène (1820–1876) (1877). Vingt-cinq dessins de Eugène Fromentin – reproduits à l'eau-forte par E.L. Montefiore [Twenty-Five Drawings by Eugène Fromentin – Etched Reproductions by E.L. Montefiore] (in-folio) (in French). Biographical and critical text by Philippe Burty (1830–1890) with facsimiles based on sketches by the master. Paris: Librairie de l'art. Printed by Alfred Cadart (1828–1875). Print made by Yves & Barret (photorelief prints illustrating letterpress).{{cite book}}: CS1 maint: numeric names: authors list (link) BnF 30179375w; OCLC 192841277 (all editions), OCLC 557590929 (all editions), 27205986, and OCLC 1149636614 (all editions) (1891 & 2012 re-prints).

1. Gallica (BnF Gallica).

A portfolio containing 25 etchings by Eliezer Levi Montefiore (1820–1894), based on drawings by Eugène Fromentin (1820–1876), depicting figures and scenes from North Africa. The title page features an etching of a woman from the Ouled Naïl people, resting her left arm on a plinth inscribed with the work's title. Included is a letterpress list of etchings, detailing the collectors of the original works, as well as a comprehensive list of Fromentin's contributions to the Salons (1847–1876). An accompanying essay provides a critical analysis of Fromentin’s drawings, enriched by photomechanical reproductions of his sketches.

• Note by Cornell University Library: (in color) "Haute Bicherie – Basse Bicherie" [Fashionable Prostitution – Harlotry]. Persuasive Cartography – The PJ Mode Collection. Ithaca, New York: Cornell University Library, Digital Collections. Retrieved October 8, 2024. JSTOR community.25193167; OCLC 10220939816.

• Black & White version published in: Marcelin (aka Émile Planat; 1829–1887) [in French], ed. (December 24, 1881). "Haute Bicherie – Basse Bicherie" [Fashionable Prostitution – Harlotry]. La Vie Parisienne (weekly). "Mœurs élégantes, choses du jour, fantaisies, voyages, théâtres-musique-beaux-arts, sport-modes" [Elegant manners, current affairs, fantasies, travels, theater-music-fine arts, sports-fashions] (in French). 19 (52): 748–749, 751.{{cite journal}}: CS1 maint: multiple names: editors list (link) CS1 maint: numeric names: editors list (link) Retrieved October 8, 2024. OCLC 6236763 (all editions) (journal); OCLC 953572701 (uncolored map).

1. Via Gallica (BnF → Gallica). (Free Access)

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• Marcelin (aka Émile Planat; 1829–1887) [in French], ed. (July 6, 1872). "L'Europe en ce moment – fantaisie politico-géographique". La vie parisienne (weekly). "Mœurs élégantes, choses du jour, fantaisies, voyages, théâtres-musique-beaux-arts, sport-modes" [Elegant manners, current affairs, fantasies, travels, theater-music-fine arts, sports-fashions] (in French). 10 (27): 424–425.{{cite journal}}: CS1 maint: multiple names: editors list (link) CS1 maint: numeric names: editors list (link) OCLC 6236763 (all editions) (journal); OCLC 953572701 (uncolored map).

1. Gallica (BnF Gallica).

• Journal des débats politiques et littéraires [Journal of Political and Literary Debates]. December 29, 1885.

1. LCCN sn93-21697
2. LCCN sn93-21694
3. LCCN sn93-21725
5. OCLC 29530214 (all editions)

Main article: Journal des débats

• Hucher, Eugène (1814–1889) [in French] (July–December 1879). "Iconographie du Roi René, de Jeanne de Laval, sa seconde femme et de divers autres princes de la maison d'Anjou" [Iconography of King René, of Jeanne de Laval, His Second Wife, and of Various Other Princes of the House of Anjou]. Footnote 1 (page 143) in Revue Historique et Archéologique du Maine. Année 1879 ; – Second Semestre [1979 – Second Half] (in French). Vol. 6. Benjamin Heurtebize (1796–1867) (Wikidata Q123343767) – Rédacteur en chef fondateur décédé [Founding Editor-in-Chief, Deceased]. Le Mans: Société historique et archéologique du Maine. Mamers: G. Fleury & A. Dangin, imprimeurs → Gabriel Fleury (1848–1926) and his brother-in-law, Albert Ladislas Dangin (1843–1912). Le Mans: Pellechat, librairie-éditeur → François-René Pellechat (c. 1833–1896). pp. 125–150.{{cite book}}: CS1 maint: numeric names: authors list (link) Retrieved October 5, 2024.

1. LCCN ca09-650 (Revue).
2. ISSN 1158-3371 (Revue).
3. OCLC 1640833 (all editions) (Revue).
4. BnF 57272945 (article).
5. OCLC 11286352 (all editions) (article).

---

1. Via Internet Archive (University of Michigan).
2. Via HathiTrust (Cal Berkeley).
3. Via Google Books (University of Michigan).

• Charles Lennox Wright II (1876–1966) Photomechanical Printing Collection. New York Historical Society Library. ArchiveGrid 58664277; OCLC 58664277.

Charles Lennox Wright, Sr. (1852-1901), founded the C.L. Wright Zincogravure Company in 1885 in Manhattan. Charles Lennox Wright II (1876–1966) joined the business in 1897 but had a stronger passion for painting. After his father's death in 1901, the company ceased operations by 1905. Charles, Sr., was a grandson of Charles Cushing Wright (1796–1857), engraver, medalist, and founding member of the National Academy of Design.

• "The Scots Observer". April 5, 1890.

• "The Scots Observer". April 19, 1890.

• "November 13th, 1901". The Whistler Journal. By Elizabeth Robins Pennell (1855–1936) & Joseph Pennell (1857–1926), authors of the Authorized Life of James Mcn. Whistler. Philadelphia: J. B. Lippincott Company. 1921. p. 220.{{cite book}}: CS1 maint: others (link) Retrieved October 5, 2024. LCCN 22-469.

1. Via Internet Archive (Kansas City Public Library). Retrieved October 5, 2024.
2. Via Google Books (NYPL). Retrieved October 5, 2024.

• Pennell, Joseph (1857–1926) (1889). Pen Drawing and Pen Draughtsmen, Their Work and Their Methods: A Study of the Art To-Day With Technical Suggestions. London & New York: Macmillan & Co.{{cite book}}: CS1 maint: numeric names: authors list (link) Retrieved October 5, 2024. LCCN 11-28273; OCLC 743938 (all editions).

1. Via Internet Archive (Cornell).

• Pennell, Joseph (1857–1926) (January 8, 1890). "Pen Drawing Versus Etching". The Pall Mall Gazette. Vol. 50, no. 7740. London. Retrieved October 4, 2024 – via Newspapers.com.{{cite news}}: CS1 maint: numeric names: authors list (link)

• Wakeman, Geoffrey (1926–1987) (1973). Victorian Book Illustration: The Technical Revolution. Newton Abbot: David & Charles.{{cite book}}: CS1 maint: numeric names: authors list (link) OCLC 978-0-7153-5936-5, 0-7153-5936-3; OCLC 741551 (all editions).

1. Via Internet Archive. Retrieved October 5, 2024.

• Le Jugement Dernier [The Last Judgement] (October 14, 1877–December 14, 1877). Grande fantaisie triomphale [Great Triumphal Fantasy]. By André Gill (d'après Michel Ange). Paris: Chez H. Fenoux, librairie-éditeur, 20, rue du Croissant. Paris. Imprimerie F. Debons et Cⁱᵉ, 16, rue du Croissant. Et chez tous les libraires marchands de journaux.{{cite book}}: CS1 maint: others (link)

• Geographicus. "Description": L'Europe en Ce Moment – Fantaise Politico-Géographique. Brooklyn: Geographicus Rare Antique Maps. Retrieved October 4, 2024.
• "Yves et Barret". Brooklyn: Geographicus Rare Antique Maps. Retrieved October 4, 2024.

• Effiche: "Le ballon, 'l'Armand barbès' (capitaine Erichet) perte de Paris le 7 octobre 1870, monté par Messieurs Gambetta et ... pendant le Siége" [Poster: The Balloon 'l'Armand Barbès' (Captain Erichet) Left Paris on October 7, 1870, Carrying Messrs. Gambetta and ... During the Siege]. s.b.d. → (signature en bas à droite [signature at the bottom right]): André Gill (illustrateur); s.b.g. → (signature en bas à gauche [signature at the bottom left]): Yves & Barret SC ("SC" stands for "sculpteurs"), rue Thévenot, 8. Paris, typographie de e. Plon et Cⁱᵉ, rue Garancière, 8 → site of Hôtel de Sourdéac (fr). 1876 – via Tampon encreur violet [purple ink stamp] → [Musée] Carnavalet (Paris: Collection Carnavalet).{{cite book}}: CS1 maint: others (link) LCCN ppmsca.02353, LCCN 2002-722660; Paris Musées (Carnavalet) 169891 and Almanachs–1876: OCLC 51751219 (all editions).

Main article: Léon Gambetta (1838–1882)
Main article: Siege of Paris (1870–1871)
Maroon stamped imprint: "Legs Quentin Bauchart 1911" [Bequest of Quentin Bauchart] → Alexandre Quentin Bauchart (1809–1887).

Titre – Français Le ballon 'l'Armand barbès' (capitaine Erichet) parti de Paris le 7 octobre 1870, monté par Messieurs Gambetta et Spuller, se trouve accroché à un chêne à 2 lieues dans le bois de Farvieni (sic).

Description – Français: "Organisé par voie des témoignages fournis à l’issue de l’embuscade que fit Deny vers se dénommer M. W. de Fonvielle, français puis familier d’après épice le 16 juin 1859 du récit chez ceux qui étaient à Lille (recherche sur une des posters de Gambetta). 'L'Armand barbès' étant le cinquième ballon sorti de Paris pendant le siège."

Translation: Organized based on the testimonies provided following the ambush set by Deny towards a certain Mr. Wilfrid de Fonvielle (1824–1914), a Frenchman who later became familiar according to the account of June 16, 1859, from the story of those who were in Lille (research on one of the posters of Gambetta). 'L'Armand barbès' was the fifth balloon to leave Paris during the siege."

There are a few parts of the original text that seem unclear or possibly erroneous, such as "d’après épice" and the context around "Mr. W. W. Favetelli." These may be transcription errors or idiosyncrasies in the text.

• Jessus, Catherine [in French]; Toulmond, André (2022). "Lettres de Lucien Joliet à Henri de Lacaze-Duthiers : chronique d'une "campagne d'été" réalisée au laboratoire de zoologie expérimentale de Roscoff : année 1877" [Letters From Lucien Joliet to Henri de Lacaze-Duthiers: Chronicle of a 'Summer Campaign' Carried Out at the Laboratory of Experimental Zoology in Roscoff: Year 1877]. Histoire de la recherche contemporaine – La revue du Comité pour l'histoire du CNRS [History of Contemporary Research. The journal of the Committee for the History of the CNRS]. 11 (1). Paris: CNRS Éditions: 42–126. doi:10.4000/hrc.7873; ISSN 2265-786X (journal; online), ISSN 2260-3875 (journal; print); ISBN 978-2-2711-4047-0, 2-2711-4047-1; OCLC 1374060703 (all editions).

Main article: Henri de Lacaze-Duthiers (1821–1901)
Lucien Joliet (1854–1887)
Main article: Laboratoire de zoologie expérimentale de Roscoff
1. "Lettre 4 – 17 avril 1877" ["Letter 4: April 17, 1877"]. Footnote 8: "Adresse de l’imprimerie de Yves & Barret, 6 rue Thévenot (actuelle rue Réaumur), Paris 3ème" [8 Address of the Yves & Barret printing house, 6 Thévenot Street (now called Réaumur Street), 3rd arrondissement of Paris].
2. "Lettre 59 – 11 octobre Paris (non datée mais certifiée)" ["Letter 59: October 11, 1877; Paris (undated but certified)"]. Footnote 161: "Adresse de l’imprimerie de Yves & Barret, 6 rue Thévenot (actuelle rue Réaumur), Paris 3ème" [8 Address of the Yves & Barret printing house, 6 Thévenot Street (now called Réaumur Street), 3rd arrondissement of Paris].
3. "Lettre 59 – 11 octobre Paris (non datée mais certifiée)" ["Letter 59: October 11, 1877; Paris (undated but certified)"]. Footnote 163: "Yves & Barret, graveurs associés, inventeurs d’un procédé de reproduction phototypographique" [163 Yves & Barret, associated engravers, inventors of a phototypographic reproduction process].
4. "Lettre 61 – 25 octobre Nogent" ["Letter 61: October 25, 1877; Nogent"]. Footnote 165: "Joliet espère toujours refaire ses dessins au crayon et en avoir des clichés, chez Yves et Barret, rue Thévenot. Voir lettre du 16 octobre [Joliet still hopes to redo his pencil drawings and have them reproduced at Yves and Barret, on Thévenot Street. See the letter from October 16].

• Yves & Barret Invoice. 6 rue Thévenot près la rue S. Denis. June 1, 1878. Retrieved October 1, 2024 – via Musée d'Art et d'Histoire du Judaïsme.

Alfred Girardin was the designer of the catalogue of the 1878 Paris Exhibition. Invoices for photos by Girardin for objects listed in the catalogue of the 1878 Paris Exhibition.

Hot lead typesetting: Yves and Barret, 1st class gold medal at the international congress of geographical sciences [International Congress of Geographical Sciences] 1875. Photogravure, chemical relief engraving for typography, 6, rue Thévenot (now rue Réaumur) near rue St Denis; addressed Isaac Strauss, 23 r. de Gramont.

Timbre fiscal [tax stamp] → Timbres bleus de quittance [blue receipt stamps]. Fea­tures a central oval design framing the 10 centimes denomination, with ornate curly-cues in each corner and decorative borders on all sides. The stamp is in portrait orientation, with the top labeled "Quit­tan­ces reçues" [receipts received] and the bottom labeled "Et décharges" [and discharges].

1. Mar. 2, 1878: 1 photo: vase.
1. 15 fr.
2. Tax stamp: 10 centimes.
3. Red stamped imprint: "For Acquisition"
4. Signature
2. Jan. 18, 1878: 1 photo: antique piece of furniture.
1. 30.20 fr.
3. 29? 1877: 1 photo: art objects, Girardin fabric.
1. Tax stamp affixed: 10 centimes
2. Red imprint: "For Acquisition"
3. 39.90 fr.
4. Signature.
4. Aug. 20, 1877: 1 photo: Girardin illustration.
1. 28.05 fr.

                  1 photo:"     ".

2. 34.20 fr.
3. 62.25 fr. (total)
4. Tax stamp affixed: 10 centimes
5. Red imprint: "For Acquisition"
6. Signature.
5. Aug. 3, 1877: 1 photo: Girardin; 17 × 9 cm (3.5 in).
   1. 22.95 fr.
   2. Tax stamp affixed: 10 centimes
   3. Red imprint: "For Acquisition"
   4. Signature.
6. Aug. 2, 1877: 1 photo: furniture; 20 × 13 cm (5.1 in).
   1. 33 fr.
   2. Tax stamp affixed: 10 centimes
   3. Red imprint: "For Acquisition"
   4. Signature.
7. Jul. 26, 1877: 1 photo: (Girardin) scepters, photo.
1. 24 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.
8. Jul. 12, 1877: 1 photo: Girardin illustration, 13 × 16 cm (6.3 in).
1. 31.20 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.
9. Jun. 29, 1877: 1 photo: drawing by Girardin.
1. 31.31 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.
10. Jun. 1, 1877: 1 photo: piece of furniture, 19 × 11 cm (4.3 in).
1. 31.31 fr.
2. Tax stamp affixed: 10 centimes
3. Red imprint: "For Acquisition"
4. Signature.

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