Beschreibung
The complete suite, issued in an edition of 50, of 10 lithographs printed in colors (G. & P. E 212 - 221) on pale slate blue chine volant (sheet sizes vary, the smallest 22.5 x 15 cm, the largest 31.3 x 24 cm) hinged on upper versos to the original off-white vélin supports 36 x 27.5 cm, the portfolio covers comprising additional original lithographs printed in colors (text and Vautours recto with white gouache highlighting, Aigle verso) on buff japon 38.2 x 27.7 x 0.7 cm, all signed in the stone; Vautours additionally signed in pencil, numbered 46/50 and impressed with the publisher's blindstamp (L. 2254). The suite, exhibited at the Salon d'Automne 1907, comprises: Femme de profil (G. & P. E 212); Fillette (G. & P. E 213); Femme a l'ombrelle (G. & P. E 214); Femmes au bord de la mer (G. & P. E 215); Jeune serveuse (G. & P. E 216); Femme au café (G. & P. E 217; Soldats (G. & P. E 218); Soldat (G. & P. E 219); Aigle (G. & P. E 220); Vautours (G. & P. E 221). In fine condition overall, full sheets and mounts as issued, the colors unfaded, the sheets with few imperceptible original paper flaws and clear of even the slightest foxing, hinged to the mounts along upper edges verso as issued (rippling and faint staining through rectos), the mounts with hinge remnants in upper corners versos only, loose as issued with the lithographed covers (slight surface soiling and edge crinkling). Now within individual Somerset Velvet folios in a full Bristol card portfolio, in a slipcase covered with olive-tan book cloth and lettered in red on the spine (old but not original; 51.5 x 38.5 cm overall; slight smudging and edge wear to slipcase). The Impressions straddle Villon's Belle Époque beginnings and his emergence into his cubist period. While Ginestet and Pouillon state that the lithographs were made in part from watercolors of 1897, a comparison of illustrations from 1897 (e.g., G. & P. I 35, I 36) with those circa 1907 (e.g., G. & P. I 218, I 222) demonstrates a progression from broad volumetric masses of color to transparent planes suggested by lines and highlighted with selective massings. The translucency, spontaneity and expressionistic abstraction of Vautours, in particular, parallel similar qualities of the contemporaneous Minne drypoint series as precursors of Villon's cubism. Provenance: Edward Powis Jones and Anne Keating Jones. Catalogue reference: Ginestet, Colette de, and Pouillon, Catherine, Jacques Villon: Les estampes et les illustrations. Catalogue raisonné. (Paris: Arts et Métiers Graphiques, 1979), nos. E 212 - 221. Bestandsnummer des Verkäufers ABE-1529875807524
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