After a drawing by the noted French artist JEAN-FRANCIS AUBURTIN (1866-1930), this is an engraving in sanguine colored ink by the noted Swiss artist GEORGES AUBERT (1886-1961). Both artists have signed their names in pencil, Auburtin at the left and Aubert at the right. The work measures approximately 14" on a side within the mat opening (not examined out of frame), and 20" by 18 1/2" as framed. The image is of a young female viewed from the side, her legs drawn up, as she blows on a large shell at the ocean. From a distance the piece appears as a sanguine drawing but up close one can see that it is in fact an engraving of some kind. Auburtin was born in Paris and had a distinguished career in the fine arts in France. After education at the Ecole des Beaux-Arts, he found himself attracted at the end of the century to Brittany (and in fact much of coastal France, including Corsica, as well as the Pyrenees and the French Alps). In Brittany, exposed to the great number of artists working in the art colonies at the time, he flourished, attracting major commissions for paintings in public buildings. He exhibited in 1912-13 at the prestigious Durand-Ruel gallery in Paris, in 1913 at the Leicester Gallery in London, and in 1915 at San Francisco's Panama Pacific International Exhibition. Auburtin knew Monet in 1896-97, and was a friend of artists Albert Besnard and Auguste Rodin. His work is often mentioned along with the word Symbolism, and the influence of Japanese woodblock is very apparent in his landscape works. Later in life he made studies of dancers at Isadora Duncan's dance school, but it is for his landscape paintings and drawings that he is best known. Evidently he formed an alliance or friendship with the Swiss artist Aubert, who was known in the 1920's and 1930's as one of the finest woodcut and wood engraver artists in existence. Aubert worked closely with Georges Rouault, under Rouault's supervision, creating many of the latter's well known prints that were published by Ambroise Vollard, and Aubert also worked in collaboration with Picasso. This print is slipping around under the mat and was hard to photograph perfectly centered within the mat. There are some very light handling creases visible in the field. What appears as a line or cut near right edge is actually a loose bit of paper floating under the glass, and a small bit of paper floating under the glass near the ear area. There are several white dots of some kind of foreign matter on the print within the imagery (see close-up photos). Allow for reflections in a few images. Upper right corner portion is darker slightly than the rest of the paper, but not as dark as the photo would suggest. A partial, tattered old New York blue framer's label circa 1930's remain affixed to the backing. This is apparently a scarce or rare image. I was not able to find anything similar online.
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