Auguste DELIERRE

Original etching before letters heightened with aquatint and signed in the plate.
Made on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Sick Stag".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "The Fables of La Fontaine, four centuries of illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of fable becomes for him the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables of La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Very fine original etching before letters, heightened with aquatint and signed in the plate.
Executed on laid paper and protected by tissue guard at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Monkey and the Dolphin".
Very fine condition, presented in a modern black mat.
Auguste Delierre (1829-1891) is referenced as follows in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book Les Fables de La Fontaine, quatre siècles d'illustration analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes." [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le renard et le buste" ["The Fox and the Bust"].
Very fine condition, protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for representing the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...] Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames.

Original etching before lettering heightened with aquatint and signed in the plate. Created on laid paper commissioned by publisher A. QUANTIN to illustrate La Fontaine's fable: "Le renard et les poulets d'Inde".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced as follows in the Bénézit, dictionary of painters, sculptors, draftsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, four centuries of illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in lovely Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le pot de fer et le pot de terre" ["The Iron Pot and the Clay Pot"].
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, Four Centuries of Illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of dread. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."]

Original etching before letters heightened with aquatint.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Vultures and the Pigeons".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He moreover shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, Four Centuries of Illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of fear. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in handsome Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Farmer, the Dog and the Fox".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before letters enhanced with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Two Rats, the Fox and the Egg".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his hands the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in beautiful Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate. Created on laid paper commissioned by publisher A. QUANTIN to illustrate La Fontaine's fable: "Le paysan du Danube".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced as follows in the Bénézit, dictionary of painters, sculptors, draftsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, four centuries of illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he eliminates all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in lovely Louis XVI frames."

Original etching before lettering heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Les deux coqs".
Very fine condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers as: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He also shows a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he avoids all sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before lettering and enclosed in pretty Louis XVI frames.

Original etching before letters heightened with aquatint and signed in the plate.
Executed on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le gland et la citrouille".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers as follows: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cierge".
Very fine condition, presented in a modern black mat and protected by a tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he copied for a long time. He shows moreover a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" analyzes his style for the representation of fables: "If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of terror. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...]Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism." A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrated with 75 etched plates by A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."

Original etching before letters heightened with aquatint.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "The Lark and her Young Ones, with the Master of a Field".
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in Bénézit, dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He moreover shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, Four Centuries of Illustration"] analyzes his style for the representation of fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of fear. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. The etchings of the fables are before letters and enclosed in handsome Louis XVI frames."

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "La vieille et les deux servantes" ["The Old Woman and the Two Servants"].
Very fine condition, presented in a modern black mat and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced thus in the Bénézit dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. A pupil of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of the works of Desportes and Oudry which he long copied. He shows moreover a predilection for still lifes. He also illustrated the Fables of La Fontaine." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["The Fables of La Fontaine, Four Centuries of Illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he dismisses all sense of dread. The bird wounded by an arrow is no longer a great migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in pretty Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le cerf et la Cigne" ["The Stag and the Swan"].
Very handsome condition, presented in a modern black mount and protected by tissue guard. Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...]Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]

Original etching before letters heightened with aquatint and signed in the plate.
Created on laid paper at the request of publisher A. QUANTIN to illustrate La Fontaine's fable: "Le chat et le Renard" ["The Cat and the Fox"].
Very handsome condition, presented in a modern black mount and protected by tissue guard.
Auguste Delierre (1829-1891) is referenced in Bénézit, the dictionary of painters, sculptors, draughtsmen and engravers: "history painter, genre scenes, animated landscapes, still lifes, illustrator. Student of Eugène Ciceri, he participated in the Paris Salon between 1852 and 1889. His compositions of landscapes animated with hunting dogs show the influence of works by Desportes and Oudry which he long copied. He also shows a predilection for still lifes. He also illustrated La Fontaine's Fables." Alain-Marie Bassy in his book "Les Fables de La Fontaine, quatre siècles d'illustration" ["La Fontaine's Fables, four centuries of illustration"] analyzes his style for the representation of the fables: "S'il recherche le même angle de vue sur l'animal que Gustave Doré, il écarte tout sens de l'effroi. L'oiseau blessé d'une flèche n'est plus un grand oiseau migrateur mais la caille délicieusement colorée des natures mortes. [...] Devant [les animaux au milieu desquels nous vivons], l'œil de Delierre est aussi froid que celui d'un entomologiste. L'art de la fable devient chez lui le plus bel exemple de naturalisme pictural." ["If he seeks the same angle of view on the animal as Gustave Doré, he discards any sense of terror. The bird wounded by an arrow is no longer a large migratory bird but the deliciously colored quail of still lifes. [...] Before [the animals among which we live], Delierre's eye is as cold as that of an entomologist. The art of the fable becomes in his work the finest example of pictorial naturalism."] A deluxe edition in two volumes: Fables de La Fontaine. Edition illustrée de 75 planches à l'eau-forte par A. Delierre, Paris, Quantin, 1883, is catalogued at the Bibliothèque Nationale. Les eaux-fortes des fables sont avant la lettre et enfermées dans de jolis cadres Louis XVI." ["The etchings of the fables are before letters and enclosed in lovely Louis XVI frames."]