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Simon Bussy
The Black Cat
1927

About the Item

'The Black Cat' from the folio 'Bestiaire', with illustrations in hand-stenciled pochoir; designs by Simon Bussy; prose by Francis Miomandre. Published by G. Govone, 1927, Paris, in a limited edition of 250. A fine, painterly impression, with rich, fresh colors, on the full sheet of cream wove paper, in good condition. Pochoir is a refined stencil-based technique employed to create prints or to add color to prints created in other mediums. Characterized by its crisp lines and rich color, it was most popular from the late 19th century through the 1930s with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur'. The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process by virtue of its handcrafted methodology resulted in the finished effect of an original painting, and in fact, each print was unique. Simon Albert Bussy was born in Dole, France and studied under Gustave Moreau at the École des Beaux-Arts in Paris. He mounted his first exhibitions of pastels at the Galerie Durand-Ruel in 1897 and 1899. Around 1901 Bussy visited London where he was introduced into local artistic circles and the New English Art Club by his friend and fellow artist William Rothenstein. In 1903 Bussy married Dorothy Strachey, and while on their honeymoon they discovered a small house at Roquebrune, near Monaco, which they soon bought and where they lived for the next three decades. The house, called Le Souco, became a meeting place for English and French artists, writers and intellectuals visiting the area, including Dorothy’s brother Lytton Strachey and her cousin Duncan Grant, as well as Rudyard Kipling, André Gide, Roger Fry, Vanessa Bell, Mark Gertler, Paul Valéry, Virginia Woolf and Bernard Berenson, who came to own several of Bussy’s pastels, as did Gide, Valéry and Jean Schlumberger. Throughout his career, Bussy’s pastels and paintings were exhibited at galleries in London and Paris. Among the most significant of these was an exhibition of forty paintings and sixty-two pastels of animals and birds, held at the Galerie Druet in Paris in 1925. From about 1912 Bussy focused on pastel drawings of animals, many of which he studied at the London Zoo. His approach was one of long, close and careful study. As he himself noted of his works: 'My animals, birds, and reptiles have nothing trivial; they are actual portraits in which I desire that the resemblance emerges from the incidental with always further clarity, precision, and purity.’ Paintings and pastels by Simon Bussy are in the following museum collections: National Portrait Gallery (London), Tate (London), Ashmolean Museum (Oxford), Musée National d’Art Moderne (Paris), Musée départemental de l’Oise (Beauvais).

Creator:
Simon Bussy (1869 - 1954)
Creation Year:
1927
Dimensions:
Height: 7.38 in (18.75 cm)Width: 6 in (15.24 cm)
Medium:
Stencil
Movement & Style:
Art Deco
Period:
1920-1929
Condition:
Gallery Location:
Myrtle Beach, SC
Reference Number:
Seller: 1036271stDibs: LU53233805202

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