Marguerite Callet-Carcano: Minette la Noire

Marguerite Callet-Carcano

Milano (It.) 1878 - ?

Illustrator, printmaker, bookplate artist. 

Resuming after a break in blogging (there is more to life) about forgotten and obscured artists-printmakers I'ld like to share my recent acquaintance with Marguerite Callet-Carcano. Little is to be found about this artist mainly mentioned as a Belgian (Brussels) books illustrator and bookplate designer. 

I found these wonderful cat prints, designed for a 1941 book "Minette la Noire" (Blacky) by Belgian author, poet and painter: Maurice Jean Lefebvre (1873-1954). A proof of the above print is known but finding a copy of the actual book was without result so far. It shows the artist decided to change, mirror, the original design of the sleeping cat print.
   

Other then some examples of her bookplates and book illustrations I couldn't  much to shine any light on her career or her life. 

Another thing (a coincidence ?) is that an other Maurice Lefebre (1863-1917) happened to be a quite famous playwright for the entertainment establishment "le Chat Noir" in Montmartre Paris, immortalized by Theophile Steinlen (1859-1923) 1898 poster design.

After some genealogical and historical research and deduction my guess is she might have been the grand-daughter of this couple: Comte (count) Pierre Carcano, an officier in the Navy to his Royal Majesty the King of Sardaigne (King Victor Emanuel II, later King of Italy). Pierre Carcano married 15-01-1857 in Turin (It.) to Marguerite Franchet-D'Esperey (born 1831).

Marguerite Carcano-Franchet-D'Esperey died 15-07-1859, 26 years of age only two years after her marriage and, possibly at or shortly after giving birth to her granddaughters father who is not known by name. I found these genealogical data in a recent Ebay auction offering the official 19th century family announcements. She is possibly related to Louis Franchet-D'Esperey (1856-1942) a famous WW1 French army general.    

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And then there is: Fillipo (Phillipo) Carcano (Milano 1840-1914). He was an Italian painter and in his time quite famous. He was reviewed in the Studio Magazine in 1913. I suppose he is in some way related to Marguerite.

I hope now Marguerite is represented with this entry in the Internet all who stumble over this humble attribution and may have further knowledge about this artist and/or her family please send me details for furthering and sharing. 

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All pictures borrowed freely from the Internet for friendly, educational and non commercial use only. 

Around Antwerpen School of Printmaking (IX)

Emile Verpilleux (V)

In the beginning there was:

Emile Antoine Verpilleux & Hubert Valentine Fanshaw.

Had I known this print, “the Tower”, published in “the Studio” 1910, I would have begun my Antwerp and Verpilleux  postings with it. But I didn't. We can safely assume it is his first. Probably he had just returned to London after his educational years in Antwerp. It is Antwerp’s St. Jacobs tower and for that reason I repeat here some already shown contemporary woodblocks.

L: A.v.d.J             R: Jean Claessens (1978-1963)

The mysterious artist mentioned in the 1913 article in "the Studio", "who knew the ropes" and succeeded in persuading young Verpilleux to change from painting into taking courses in printmaking with Eduard Pellens was most certainly Hubert Valentine Fanshaw (1878-1940). Fanshaw studied in the Sheffield Technical School, the Royal College of Art in London and in the Academie Royale des Beaux Arts in Antwerp. He immigrated to Canada in 1912 just before the second article on Verpilleux beginning of 1913 in the “the Studio” illustrated with two color prints by Verpilleux. Honouring Fanshaw for his foresight I show a selection of, his typical Canadian, prints here. And if I said they were by Walter J. Phillips you would believe me too. 

Two other artists followed Fanshaw to Canada a year later, in 1913: Walter Joseph Phillips (1884-1963) and the etcher Cyril Barraud (1877-1940) Also, in 1913,  Dresden trained German printmaker Henri Eric Bergman (1893-1958) immigrated to Canada and these 4 men were to become the founding fathers of the Society of Canadian Painter-Etchers/Engravers. As a watercolor painter Phillips took up etching only after 1914 (taught by Barraud who left for the War) and his block printmaking career started even later. These prints by Fanshaw showing how these men influenced each other creatively. Phillips has more then enough entries in the www. Bergman's and Barrauds work I shall discuss and show later. 


Another souvenir de Belge is Verpilleux' print "Malines" showing the majestic tower of St. Rombouts Cathedral in Malines (Mechelen). It should have been almost twice as high but the imbalance between ambition and reality left it an impressive 96 meters still. As we know today this medieaval financial crisis surely wasn't the first nor to be the last. 

A century after Verpilleux sat there nothing much has changed in mediaeval Mechelen. But I am quite sure Verpilleux is trying to tell us more then just showing a nice view. A procession seems to be going on and there's statue clearly visible. The statue (removed and replaced in 2006) is of Margareth of Austria Savoy (1480-1530) 

She choose Mechelen her residence ruling over the Lower Countries. In the end of her life processions were held to her health. She suffered and died of a bone marrow infection after a fall from her horse and after a not very happy life. But she was well loved by her subjects. Also since 1273 the famous Hanswijk procession devoted to Maria is held here every sunday before Ascension (end of april, beginning of may) for over 800 years. Followed by a horse drawn parade with historical themes and relics of St. Rombout. Although very small the horses and horsemen are clearly visible. Well well, Emile Verpilleux the teacher, hidden history lessons from a woodblock print. 


PS: thanks to Charles (see comments) here is Emil Orlik's (1860-1911) view on Mechelen (Malines) and St. Rombouts. He visited Belgium and the Netherlands in 1898.

Around Antwerpen School of Printmaking (VI)

Emile Antoine Verpilleux (III).

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

 Thames view towards Charing cross (Hungerford) railway bridge.
Under Waterloo Bridge

Verpilleux' view of River Thames is a remarkable achievement in many ways. It's accurate, it's panoramic, has great colours towards a setting sun. And it's without any equivalent. The broad waters dramatically rushing towards the viewer. Again: remember this is not a painting but a woodblock print. On the far left South Bank: the bell tower of County Hall. The Victoria Tower and Clock Tower are in the centre. The two towers of White Hall Court and Cleopatra's Needle on the Victoria Embankment on the right.

Were the artist sat.

To emphazise his very low view point he shows a glimpse of one of those caracteristic Victorian lanterns on the Victoria embankment wall above him. Adding yet another element to the already very strong perspective.


Would it have been a painting and more known it would have been discussed and analysed by art experts all over the world. It would have hung in a prominent Museum on a prominent spot. But it's not. Not a painting, not well known, nor on display in any museum. Not even in London. A shame !

This above birds eye view of what Verpilleux is showing us from the centre of his print: Victoria Tower (the little yellow dot is where he sat.

Adelphi , Cecile and Savoy Hotels, around 1905,
 the pontoon  l.r. seen from Waterloo bridge.

Verpilleux choose a dramatic low view point. As low as he could find. On the surface of River Thames on a pontoon build in 1869 (it's no longer there) and in front of the Savoy Hotel and practically under Waterloo bridge. 
Thus, cleverly enabling him, placing the horizon and Westminster Bridge below the railway bridge with its caracteristic domed pillars and steaming engine driving towards Charing Cross Station. 

It is possibly the most depicted, painted and photographed London panorama.

View from the Cecile Hotel.

But there's really no equivalent to Verpilleux' print showing the greatness of River Thames. 

The only modern prints I know with a similiar scene and similar low perspective is "Pont Royal" with river Seine in Paris by German woodblock printmaker Heine Rath (1873-1923) 
and etcher Luigi Kasimir (1879-1937) with river Elbe and Hamburg.


There are many great and famous paintings of this grand panorama. Most but a handfull of artists however choose a higher position either from the Victoria Embankment, the bridge crossing or high up from the Savoy or Cecile (no longer there) Hotels. Painters, etchers and photographers.

From this perspective Claude Monet 1903 clearly choose higher grounds for this and countless other views in changing weather and atmosphere.


Here are some examples of the famous railway bridge as seen from Waterloo bridge. Massive White Hall Court dominating on the right.

French Impressionist Camille Pissaro (1830-1903): view from Waterloo Bridge (build 1865). Probably painted 1871, the year he visited London

American Impressionist Frederick Childe Hassam (1859-1935), 1929

Czech artist Frantisek Tavik Simon (1877-1942), one of the finest European painters and graphic artists of the xxth century, visited Antwerp and lived in Paris 1904-1914. This is his sketch of Thames tugboats and the railway bridge.

Andre Derain (1880-1954):  1906

And contemporary painter Claire Randall stood right above where Verpilleux sat. Restored RS Queen Mary (a restaurant) now moored at this location.

Under Waterloo Bridge in 1924 around the time Verpilleux sat there.  One of my favorite artists Dutch painter and etcher Willem Witsen (1877-1942) had a fascination for this spot too around 1905 (below). He made several paintings.

From the great many wonderful pictures I found researching Verpilleux' print these I cannot withhold sharing here: 

The railway bridge and the Victoria Embankment at night seen from the other (West) side, from Westminster Bridge. White Hall Court and Charing Cross station on the left, a 1904 photogravure (click!) by William Hyde (could find no biographical data). I will come back to him later. 


And Whistler's friend, American Joseph Penell (1857-1926) had a fascination for this bridge too: "under Charing Cross Bridge" and "Westminster and railway bridge" seen from Waterloo Bridge' South Bank.

In next posting I'll show a selection of the more celebrated and popular London and Thames impressionist views I found researching this article to emphazise the importance of Verpilleux' woodblock print. Impressionist views from the Grand Hotels on the Victoria Embankment between Waterloo Bridge and the Adelphi Terrace.


This posting has been my most extensive, time consuming and laborous contribution to this Blog so far. Leaving feedback and comments is always welcomed.

Around Antwerpen School of Print Making (III)

Lepère at work

Auguste Louis Lepère

1949-1918

French wood engraver, etcher and

First Modern Printmaker

Both my main subjects and starting point of these series of postings, printmakers Emile Verpilleux and Henri Wils were taught in Antwerp at atelier Pellens. Wils at least "claimed" he had been inspired by Auguste Lepère. Verpilleux, although I could not find a quote, has Lepère written all over his wonderful prints. 

Lepère and his friend and colleague Felix Noël (1839-1907) at work.

à la Rembrandt

So I’ve taken the burden upon me to pay attention to the great Auguste Lepère. Without consulting textbooks, dissertations (there are), collection catalogues (there are) nor any scholarly (I haven't on this subject) background. As Charles (of Modern Printmakers Blog) put it very to the point: "all information gathered from the Internet is at best superficial". And he is totally right of course. Nevertheless, warned but undaunted I’ll continue this personal account of my internet investigation. Facts and pictures. No harm in there. 

atmosphere (and rain)  engraved  by Smeeton & Tilly

In Paris between 1840-1880 flourished the reproductive studio of Joseph Burn-Smeeton and Auguste Tilly. In spite of his name there’s not much known about Smeeton. Dates (undoubtedly taken from accountable sources) are only given for his working (productive) period: 1840-1880. The composite family name Burn-Smeeton was created with the marriage of George Smeeton and Mary Burn.  In 1774 in St. Martin in the Fields (Br.) probably Joseph’s grandparents. 

The studio in Paris must have been a success because they even engraved the world famous Waterpoort, build around 1500 in my hometown. In Friesland. Nothing much has changed on that location in 400 years. (all pictures are mouse click-able) 

Porte de Nantes, Nantes Harbour 1906

In 1862 Auguste Louis Lepère was accepted as an apprentice just 13 years of age after being taught (probably the basics of engraving) by his father, the Paris sculptor Francois Lepère. Auguste was to become one of the greatest French artist of the 19^th century and world famous already during his life, because of his remarkable wood engraving skills and technique but particularly for the atmosphere he was able to create in his engravings, etchings and later for his pioneering and inspiring modern printmaking.

Marché aux pommes, Paris. etching (notice: against and into the light) 

But here, at atelier Smeeton, he received his basic training as a wood engraver.  In studios like this all over Europe paintings of “real”, creating artists, were copied in wood- and copper engravings, and designs for books executed.

Watercolor by Lepère: "Son et lumière au place des Vosges,
 Victor Hugo Centenaire. 

In 1889 Lepère, following the advice of his friend, the painter and etcher Felix Bracquemond (1833-1914), took up etching and his career as a free creating artist took of. Experimenting with color blocks in woodblock printing, combining wood engraving with woodcutting and blockprinting. 
It’s always these same few but great color prints turning up (on the www) but how fascinating they are. I wonder if he did any more.

Bassin-des-tuileries-1898

Palais de Justice

Dimanche, bords de Paris

Le dimanche aux fortifs 1898

Lepère almost always places people, action, in the front of his compositions. In new, difficult and daring perspectives. Always with great care for detail and composition. Always active. Often against the light, as any photographer knows, encreasing drama and atmospheric effect. The merry go round (what brave positioning and sectioning) might even have been an inspiration to American printmaker Frances Gearhart (1869-1958) * Lepère was also very famous in America. 

There’s always a lot to see and discover in Lepère's prints. With all his skills and experimenting he was able to create atmosphere and temperature, in his etchings, engravings and in his pioneering color printmaking. Impressionist printmaking. 

London, Houses of parliament by Auguste Lepère
a  British Newspaper supplement anno 1889

around 1900: Notice the slight difference  in view point with Lepère.
The photographer stood on a balcony or used a ladder while Lepère appeares to have been seated.

Pigeon eye  view of Parliament Square.

The staging of a silhouetted (back-lit) but amazingly detailed and always busy crowd in the foreground was probably Lepère's invention and it was eagerly borrowed by Emile Verpilleux. Greatly increasing drama and scale very effectively. There's a story told in the lower 3 cm. Hurrying, sheltering, weeping, travelling, commutering, praying, visiting, sunday afternoon strolling people. The other 95% is an impressive stage setting. These prints both Lepère's and Verpilleux' are not decorational. Every print is like a play. 

All examples:  Verpilleux'  bottom 3 (!) cm of his prints. 

This, the low viewpoint (the eye level of the seated sketcher?) and the delicate building up of a just few faint layers of shade or colour in most of Lepère’s work also can be found in Verpilleux's. The choice of the subject (great rivers, great city views with ornamental buildings, cathedrals, bridges, squares and market places) and the time of day greatly attributing to create not an effect but a perception of greatness and atmosphere. Transferred onto a piece of paper. 
If Lepère was the God of Modern Printmakers, Verpilleux must have been his son. 


Next: Emile Verpilleux, a wonderful perception of greatness and atmosphere.


See also: http://www.clivechristy.com/2010/06/auguste-lepere-1849-1918.html

* Frances Gearhart's Merry go round borrowed from Lily's Japonism