New Images
- Anonymous Italian, Venus
- Appian, Bords du Ruisseau
- Beham, Ornament with a Palmette
- Benoit, A Grove of Trees
- Berman, Destruction Ancient City
- Bonasone, Sculptures of Persians
- Brissot de Warville, Parc à Moutons
- Brizio, Satyr Spying on a Nymph
- Brouet, Grand Saint-Ouen
- Buhot, Idée du Frontispice
- Cameron, Glen Strae
- Charlet, Une Reconnaissance
- Cochin, Hercule Gaulois
- Collaert, St. Maclovius (St. Malo)
- Coornhert, Battlefield in America
- Daubigny, L’Heritage de la Voiture
- Denon,Family Seated Near a Wall
- Dietterlin, Ornamented Fountain
- Dugas, La Pentecôte
- Duplessis-Bertaux, The Church
- Dürer, The Young Couple
- Fantin-Latour, Baigneuses
- Gillot, Livre de Portières
- Good, Portrait of a Lady
- Grasset, La Belle Jardinière
- Gropper, The Art Patron
- Hackaert, A la Cava
- Haid, Woman Lighting Her Pipe
- Higgins, Two Peasants Arguing
- Hollar, Woman of Antwerp
- Huybrechts, Ornament
- Israels, A Scheveningen
- Lalanne, Le Pont des Arts
- Lalanne, Passage de la Marmite
- Legros, La Pêche à la Truble
- Lepic, Le Président Arbod
- Levine, A Hand Holding a Cigar
- Nadelman, Reclining Female Nude
- Nolpe, Peasant Man and Woman
- Nolpe, Peasant Woman
- Nura, Seraphine Sews
- Ossenbeeck, The Merchant
- Ostade, Bust of a Peasant
- Piranesi, Ruins of the Neronian
- Paunzen, Pastorale, Allegro, No. 89
- Quaglio, Falconing Party
- Rados, Title Page
- Rados, Acquedotti e Rovine Antiche
- Rados, Carceri nella Tragedia
- Rops, Ma Grand’ Tante
- Salamanca, Stratonice Mithridatis
- Sampson, Paris Rooftops
- Schmutzer, Holländerin mit Kuh
- Taquoy, Horses and Hounds
- Viera, Coronis Pursued by Neptune
- Vliet, Hunchbacked Beggar
- Voyez, La Visite Inattendue
- Willman, The Four Seasons
- Wit, Onder of Over (Under or Over)
Grand Saint-Ouen
Etching and drypoint, Geffroy 99, 209 x 305 mm. Fine impression, with burr and plate tone, on Van Gelder wove paper with large, full margins, signed in pencil and numbered from the edition of 60 (Geffroy mistakenly says 75). Brouet grew up in the outskirts of Paris, among the rag pickers, gypsies, carnival workers and the like that populated that area. A scene like this, almost a convention of rag pickers and junk dealers, would not have been to him an adventure in slumming but an everyday occurrence. That such a milieu could produce a graphic artist of his quality (and he is not the only example) is one of the mysteries of life. Saint-Ouen is today the site of the marché aux puces, Paris’ famous flea market, which generally handles a higher class of goods than what is shown here. This is perhaps Brouet’s best representation of the scene.
$450.00 |
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