Portrait de Cézanne par Lui-Mème. Self-Portrait, At the Easel. by Paul Cézanne, 1839-1906

Paul Cézanne, 1839-1906
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Portrait de Cézanne par Lui-Mème. Self-Portrait, At the Easel.

Original lithograph in black ink. 1896/97. From the rare first group of 50 impressions on japan paper. Total first edition: 50 impressions on japan and c.100 on cream MBM laid paper. Commisioned by Ambroise Vollard, c.1896, probably for his third but never published A'bum d'Esatmpes de la Galerie Vollard. Printed at the Atelier Clot.
Ref: Cherpin - Cézanne L'Oeuvre Gravée 8. Melot - Cézanne 7
Note: There was a later second edition in grey ink.

Extremely fine rich dark impression. On pale cream smooth japan paper. Excellent condition. Full margins. Sheet: 25 ¼ x 18 7/8ins. Image overall: 13 7/8 x 11 1/2ins (352x280mm)

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Cézanne drew just four compositions in lithography, two on the theme of 'The Bathers', the 'Déjeuner sur l'Herbe' and this 'Self Portrait at the Easel'. The Self Portrait was commissioned by Ambroise Vollard and probably intended to be issued in his third 'Album d'Estampes de la Galerie Vollard', but in fact that project never came to fruition. Probably drawn about 1897 to 1898, and printed in c.1900 no impressions were sold at that time. Vollard seems to have first offered them for sale around 1914.

Cézanne drew the image in black, printing the edition at Clot's studio. The first impressions are in a black ink, and the strongest, visually, of these are those, as here, on the cream japan paper. It appears, however, that Vollard thought that the image might appeal to more of his clients if it were in colour. To this end Cézanne was to watercolour an impression and Clot to make colour stones from Cézanne's maquette. In anticipation of this an edition was also printed in a grey ink which would blend more easily with the proposed colours. In fact the colour version was never made, and the grey impressions were also sold in monochrome form.

In the strong black impressions of the 'Self Portrait', as here, the emphasis on plane and construction which is a the root of all Cézanne's art is very clear - the lines of the jacket, the angle of the easel, and the treatment of the features all underline this use of powerful structure.

Whilst the overall edition of this lithograph was quite large, the first impressions in black, and especially those with the strongest black inking on japan paper, as here, are very uncommon.