Eaux-fortes and proofs before letters of Choffard’s plates exist in almost every instance, and they command a much greater price than impressions after letters. Naturally first proofs are usually far more brilliant than later ones and are deservedly prized by collectors. Nevertheless a prohibitive value is frequently placed on certain rare states and on scarce eaux-fortes, which makes one realize how true Seymour Haden’s remark is, when applied to this case: “First comes the biographer and cataloguer with wearisome precision to describe different states of a plate and then the dealer to persuade that the first two of these ‘states’ are worth three times more money than the perfected plate; a grave misconception.” From the artist’s point of view, undoubtedly, this is an absurd misconception, but a collector or a student naturally regards the various stages of the masterpiece’s progress as an interesting adjunct to the enjoyment and appreciation of the finished work.
The book known as the “Fermiers généraux” edition of the “Contes et nouvelles en vers,” by La Fontaine, is justly regarded as containing some of the most beautiful examples of Choffard’s work, for every little picture, so different in theme, is a revelation of the artist’s extraordinary powers. There is tender love for his art in every stroke that caressingly models the allegorical figures whose graceful contours repose on transparent clouds, also in the floral designs, minute genre pictures bordered by drapery and flowers, and in a medal with the artist’s portrait amidst garlands and clouds and a multitude of other picturesque combinations that are contained within the two volumes. But perhaps the most ingenious little vignettes are those that treat of commonplace things, of vulgar, raw substances such as a piece of meat or dead fish in a net. The subjects sound almost repulsive; there are not even the beautiful hues of the rainbow trout to relieve the coarseness and crudeness of the subject! It is in cases such as these that Choffard’s unique talents are forcibly apparent, for instantly one admires the little pictures, regardless of the subject which is represented so attractively as to form an artistic composition.
“Le jugement de Paris” and the two editions of “Les Saisons” also contain well-known illustrations by Choffard. These latter are usually considered to rank among his “chef-d’œuvres,” although it seems doubtful whether they equal his real masterpieces. They appear to represent the subjects in cameo form, whereas the little medallions just fail to give that effect, thus leaving us to decide for ourselves the meaning of the deep shadow outlining the small figures.
The words “plan of London” convey no idea of an artistic illustration, and yet Choffard executed a delightful vignette with the metropolis’ highways, streets, houses, and river distinctly mapped out in the centre of an ornamental frame. Berthoud was fortunate when he obtained a charming fleuron by Choffard for his “Histoire de la mesure du temps par les horloges,” for who but the “maître ornemaniste” would have succeeded in forming a delightful “ensemble” with rectangular clocks and scientific instruments?
The little battle scenes which illustrate “Préjugés militaires” are exquisitely composed, and are excellent examples of the delicacy and depth with which Choffard etched. His talents in this line are also exceptionally remarkable in the head-piece containing Basan’s engraved portrait, which forms the centre of the composition, on each side of which are the great publisher’s studio and study.
In the pages of “L’histoire de la maison de Bourbon” Choffard’s genius shines forth with brilliant vigour. Each tail-piece, so similar in subject yet very different in design, is an allegorical composition aptly illustrating the chapter it terminates. When these fleurons and tail-pieces are in proof and the complete impression of the copper-plate is shown, there are words engraved “à la pointe” on the extreme top edge of the plate. In a few cases they only note the volume and page in the book that the picture is to occupy, but above the proof of the tail-piece here reproduced are the words:
“Toe. V. Page 354 La Perfidie entoure de pieges les Armes de France et de Navarre, et elle s’efforce d’eloigner Bourbon du Trone, agité de fureur, le fanatisme employe contre ce Prince le fer, et le poison.” (In the original, as quoted, many accents are omitted.)
There appear to be no proofs in an earlier state than with these letters “à la pointe,” or if any exist, they are practically unique.
One of the five fleurons by Choffard for Rousseau’s works is reproduced in this book, and is here followed by the same illustration with the figure draped. This latter is a later state and was never published nor is it cited in any catalogue. Plates in the early state are frequently encountered with points differing from the final ones, due, no doubt, to the artist, author, or publisher wishing for some alteration in the design; these differences are at times very perceptible and at others hardly noticeable. It also sometimes happens that the earlier state was selected for publication, as in this case.
Could there be any more appropriate conclusion to this chapter than Baron Roger Portalis’ just eulogy on Choffard’s art?