La Toillette (sic). Pl. de la suite Essai de papillonneries humaines. Après 1756. Eau-forte. 235 x 328. Baudicour 12 ; Portalis et Beraldi 2. Belle épreuve du 1er état (sur 2), avant le nom gravé. Rousseurs claires éparses. Toutes marges. Très rare. Ex-coll. H. J. Delacroix (Lugt 3604). « Today, when Charles-Germain is remembered at all, it is principally for his twenty-seven etchings, one group in vertical format, the other in horizontal compositions. […] These delightful vignettes show butterflies engaged in a variety of human activities : dancing, fighting duels, acting on stage, or primping at their toilette. Charles-Germain’s etchings were part of a then-contemporary vogue for compositions of animals masquerading as people […] The second group of etchings is the more elaborate of the two, its six vertical images using a richer, more complex vocabulary of ornamental motifs that are complemented by a sensitive command of the etching process itself. » (V. Carlson, in V. Carlson, et al., Regency to Empire, French Printmaking 1715-1814, The Baltimore Museum of Art and the Minneapolis Institute of arts, 1984, p. 123).
La Toillette (sic). Pl. de la suite Essai de papillonneries humaines. Après 1756. Eau-forte. 235 x 328. Baudicour 12 ; Portalis et Beraldi 2. Belle épreuve du 1er état (sur 2), avant le nom gravé. Rousseurs claires éparses. Toutes marges. Très rare. Ex-coll. H. J. Delacroix (Lugt 3604). « Today, when Charles-Germain is remembered at all, it is principally for his twenty-seven etchings, one group in vertical format, the other in horizontal compositions. […] These delightful vignettes show butterflies engaged in a variety of human activities : dancing, fighting duels, acting on stage, or primping at their toilette. Charles-Germain’s etchings were part of a then-contemporary vogue for compositions of animals masquerading as people […] The second group of etchings is the more elaborate of the two, its six vertical images using a richer, more complex vocabulary of ornamental motifs that are complemented by a sensitive command of the etching process itself. » (V. Carlson, in V. Carlson, et al., Regency to Empire, French Printmaking 1715-1814, The Baltimore Museum of Art and the Minneapolis Institute of arts, 1984, p. 123).
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