Charles Meryon (1821-1868)
The Clock Tower, Paris (La Tour de L’Horloge), 1852
Etching with engraving on very thin Japan paper
260 x 184 mm. (10 1/4 x 7 1/4 inches)
Delteil/Wright 28 third state (of ten); Schneiderman 23 third state (of ten)
In this state the borderline at both sides has yet to be reinforced. There is still a thin horizontal line across the lower margin above the bottom platemark, which is...
In this state the borderline at both sides has yet to be reinforced. There is still a thin horizontal line across the lower margin above the bottom platemark, which is removed in the fifth state. The margin below is blank, and several changes are made in successive states before the letters (the title, the publisher, the printer) are added in the sixth state. Meryon printed this state, and probably the proofs of the next two states, personally; then a large edition of 600 was made for L’Artiste, printed by Delatre.
La Tour depicts the Clock Tower, restored in 1852, still partly covered with scaffolding, standing at the point where the Pont-au-Change meets the Ile de la Cite. The Pont is full of activity. The composition is actually a composite of two different views, not precisely what one would see from any angle, but aesthetically more satisfying to Meryon than the “real” views he had made in preparation for the print.
La Tour depicts the Clock Tower, restored in 1852, still partly covered with scaffolding, standing at the point where the Pont-au-Change meets the Ile de la Cite. The Pont is full of activity. The composition is actually a composite of two different views, not precisely what one would see from any angle, but aesthetically more satisfying to Meryon than the “real” views he had made in preparation for the print.