User:Eli185/Henri Marie Petiet

Henri Marie Petiet (Saint-Prix, August 17, 1894 - La Garenne-Colombes, August 25, 1980) was a French art dealer, collector and publisher ofprints.

Nicknamed the “Baron Petiet”, he took over Ambroise Vollard's print collection and became “one of the greatest print dealers of his time[1]”.

Biography

Henri Marie Petiet was born in Saint-Prix (Val-d'Oise) on August 17, 1894. Born into a middle-class family[1], he was the grandson of Compagnie des chemins de fer engineer Jules Petiet, from whom he drew a lifelong passion for model railways[1], and a direct descendant of Baron d'Empire Pierre François Petiet.

Initially a bibliophile, following in the footsteps of Henri Beraldi, after the First World War his interest turned to prints through contact with gallery owner Marcel Guiot and publisher and print dealer Maurice Le Garrec [], who took over the Edmond Sagot collection. At the time, they dominated the print market in France, along with other art dealers such as gallery director Paul Prouté [] and Maurice Gobin[1].

From 1915 to 1920, Henri Petiet worked in his brother Charles's car factory in Ariès, collecting over three hundred vintage cars^[1].

Coin de rue, de la série Quelques aspects de la vie de Paris (1899), de Pierre Bonnard (musée Van Gogh).

His first acquisitions were prints by Maurice Denis, Odilon Redon and Pablo Picasso, which he bought from Ambroise Vollard. In 1925, Petiet acquired several monographic series by major artists: Quelques aspects de la vie de Paris, by Pierre Bonnard, Amour, by Maurice Denis, Paysages et Intérieurs, byÉdouard Vuillard and l'Apocalypse de saint Jean by Odilon Redon. He was also in contact with other major artists such as Henri Matisse, Aristide Maillol and André Derain.

In 1927, he became a publisher in his own right, publishing prints and illustrated books byAndré Derain, André Dunoyer de Segonzac, Marcel Gromaire, Marie Laurencin, Jean-Émile Laboureur, such as Les Contrerimes by Paul-Jean Toulet, which he had illustrated by Jean Émile Laboureur ; the catalog raisonné de l'œuvre gravé et lithographié de Matisse in 1932,.

After working in an apartment on rue d'Assas, Henri Marie Petiet opened his own gallery in November 1933, “À la belle épreuve”, on rue de Tournon, Paris,. The name is not insignificant: he makes a point of supplying quality prints and rare or enhanced states.

These guarantees of quality opened up international markets, notably in Great Britain and the United States, where, through the intermediary of New York-based Jean Goriany, he supplied several institutions with prints, including the Brooklyn Museum, the Museum of Fine Arts in Boston and theArt Institute of Chicago, with whom he maintained better relations than with French institutions,.

Quelques estampes de la Suite Vollard.

He undertook to have all the Pablo Picasso prints in the Suite Vollard signed (he owned 97 of the hundred sheets that made up the suite, with three Vollard portraits in the hands of gallery owner Marcel Lecomte) - a quest that kept him busy for thirty years.

When Ambroise Vollard died suddenly in 1939, ongoing projects were interrupted and the famous art dealer's collection of prints attracted a great deal of interest, including in the United States. It was then that Petiet, accompanied by Martin Fabiani, approached Lucien Vollard, the art dealer's brother, and in August 1941 discovered Ambroise's collection of around 31,000 prints. Petiet finally acquired Vollard's entire print collection at the end of the Second World War.

After the war, the American market became increasingly important, and his presence across the Atlantic was strengthened by the acquisition of Jean Goriany's address book. He was in contact with Georges Keller, Carl O. Schniewind (of the Art Institute of Chicago, who wanted to inventory Petiet's works), and the collector Lessing Rosenwald, whom he had been supplying for several years and to whom he sold numerous prints, including Géricault, Cézanne, Dufy and Maillol. He later sold him the complete Vollard Suite.

In the late 1970s, he obtained panels painted by Odilon Redon for Robert de Domecy's château, which now belong to the Musée d'Orsay,.

Henri Marie Petiet died in Saint-Prix on August 25, 1980^[1].

Legacy

After Henri Marie Petiet's death, his collection of prints was gradually resold over a period of twenty-six years at two public sales a year, the last of which was held at theOpéra comique in 2018^[1],^[2]. To mark the back of the prints that belonged to Petiet's collection, a seal was created, consisting of his initials, “HMP”, in an oval,^[2].

In 2021, the Petit Palais is organizing the exhibition “Édition limitée : Vollard, Petiet et l'estampe de maîtres”[6], which retraces the life and work of Ambroise Vollard and Henri Marie Petiet. Covering the creative processes involved in printmaking, the exhibition delves into the development of color printing at the turn of the twentieth century, in which Vollard and Petiet played an important role, both in the production of prints and illustrated books.

User:Eli185/Henri Marie Petiet

Contents

Biography

Legacy

Notes et references

Notes

References

See also

Bibliography

Links