A Set Of Original Artworks By Henri Deluermoz French 1876 1943

Henri Deluermoz (1876–1943): The artist and his subjects

Henri Deluermoz was a French painter and illustrator active across the Belle Époque and interwar years, a period that prized lively draftsmanship and characterful depictions of animals, performers, and everyday scenes. Collectors most often encounter his work as original drawings and watercolors—quick studies of big cats, horses, circus performers, and theatrical subjects—alongside more deliberate compositions in gouache or oil. He worked in and around Paris, and his approach sits comfortably within the animalier tradition that counted both academic and modernist tendencies among its devotees.

Deluermoz’s appeal to today’s collectors lies in three features:

• A confident line: rapid, assured contour drawing that captures motion in a few strokes.
• Tonal washes: watercolor or ink washes that place figures in space without overworking.
• Characterful animals: lions, tigers, and horses rendered with a keen eye for anatomy and attitude.

While major oils and exhibition canvases appear less frequently, sets of related works on paper—studies, variants, and finished watercolors—surface in private collections and estate holdings. Understanding what you have, and how to evaluate it, begins with the basics: medium, authorship, condition, and context.

What counts as a “set” of Deluermoz originals

A set can be defined in several ways, each with implications for value:

• Artist-assembled portfolios: Drawings tied together by subject (e.g., a circus series), format, and paper type. These sometimes carry studio numbers, graphite annotations, or a consistent mount.
• Commissioned sequences: A group created for a publication or theater project, often with notations about layout, captions, or printer’s directions.
• Collector-assembled groups: Works acquired over time for thematic cohesion. These may vary in paper stock and framing but share subjects or dates.
• Estate remnants: Mixed batches of sketches and finished works kept in the artist’s studio and dispersed later.

Cohesion matters. Sets unified by subject, date range, dimensions, and paper are more attractive to buyers. Look for:

• Matching sheet sizes and margins
• Similar paper (tone, texture, watermarks)
• Parallel inscriptions or numbering
• Consistent signatures and placement
• A shared provenance (labels, invoices, or letters referencing the group)

If your group includes both drawings and printed matter (e.g., lithographs), it may still function as a set—just be prepared to differentiate originals from editions and value each accordingly.

Mediums, techniques, and telltale workshop traits

Deluermoz’s originals typically appear in the following mediums:

• Graphite and charcoal: Fast studies with confident gesture lines; soft shading at joints and muscle groups. Erasure ghosts and pentimenti (changes) are good signs of authenticity.
• Ink (pen and brush): Clean contours, sometimes broken for optical liveliness. Occasional dry-brush effects for fur and mane textures.
• Watercolor and gouache: Transparent washes to build forms; gouache used for highlights and corrections. Slight cockling of paper is common where washes are heavier.
• Pastel and Conté: Less common, but seen in figure or costume studies; look for paper tooth holding pigment.
• Oil on panel or canvas: Broader, more deliberate compositions; moderate impasto; varnish may have toned with age.

Paper and supports to note:

• Wove and laid papers: Laid papers show faint chain and laid lines; wove papers present a uniform texture. Early 20th-century French sheets often carry watermarks (e.g., Arches, Johannot, Montgolfier).
• Deckled edges: Genuine deckle is uneven and organic; a scissor-cut deckle is suspicious.
• Mounts: Period French mounts may feature wash and line borders; be mindful that acidic mounts can cause mat burn.

Telltale workshop or period traits include:

• Graphite underdrawing beneath watercolor
• Framing threads of the era: narrow profiles, glass with subtle waviness
• Period adhesives and brown paper backings on framed works
• Handwritten French titles or notations, often in graphite or sepia ink, occasionally abbreviated

Authentication basics: signatures, inscriptions, and editions

Signature patterns

• Placement: Often lower right for drawings and watercolors; sometimes lower left if composition demands.
• Form: “H. Deluermoz” or “Henri Deluermoz,” in graphite or ink. A light, practiced hand is more convincing than heavy, hesitant writing.
• Consistency: Compare letterforms across the set. Watch for discrepancies in the treatment of the D, the flourish of the z, and spacing between letters.

Inscriptions and dates

• Titles or subjects: Often in French, succinct (“Lionne couchée,” “Cheval,” “Cirque”).
• Dates: Not every sheet is dated; if dated, placement is typically near the signature or verso. Keep an eye out for mismatched media (e.g., a modern felt-tip date added later).

Editions vs. originals

• Lithographs: A legitimate part of the artist’s output in this era, usually signed in the stone (printed signature) and sometimes hand-signed in pencil in the margin. Originals in graphite, ink, or watercolor should show pressure marks, variable line weight, and irregularities that prints do not.
• Edition details: Look for edition numbers (e.g., 12/100), printer or publisher credits (“Imp.” or “Éd.”), and blindstamps. These add clarity and value.
• Photomechanical reproductions: Halftone dots visible under magnification; flat, uniform blacks; no plate mark or ink gloss differential. Treat as reproductions, not original prints.
• Mixed groups: If your set includes both hand-drawn sheets and lithographs, separate and document them clearly; value will reflect medium hierarchy.

Studio stamps and labels

• Studio or estate stamps sometimes appear on verso; collector or gallery labels can confirm history. Ensure stamps are age-consistent and not freshly applied.

Condition, conservation, and presentation

Condition can swing value significantly, especially for works on paper. Common issues:

• Foxing: Brown spots from mold/metallic impurities; treatable by paper conservators but approach cautiously.
• Mat burn: Brown line near the window opening; evidence of acidic mats.
• Light-stain and fading: Paper yellows; pigments, especially certain watercolors, fade. Compare protected edges beneath mats to exposed areas.
• Cockling and rippling: From moisture and washes; minor undulation is typical and often acceptable.
• Tears, losses, and creases: Edge tears are common; center creases are more serious.
• Stains and accretions: Tape adhesive bleed-through, oil stains, or mildew.
• Oils: Varnish discoloration, surface grime, craquelure, cupping or lifting paint; overpaint visible under UV.

Conservation best practices

• Do not clean, flatten, or wash works yourself. Seek a paper or paintings conservator for treatment options and cost-benefit advice.
• Reframe with archival materials: 100% rag mat, acid-free backing, UV-filtering glazing, reversible hinges (Japanese tissue with wheat starch paste).
• Environmental control: Stable relative humidity (around 45–55%), moderate temperature, limited light exposure.
• Storage: Flat files for works on paper; interleave with acid-free tissue; avoid tight rolls.

Presentation tips for sets

• Maintain cohesion: Use matching mats and frames for display; identical labels with clear titles and dates support the narrative of a set.
• Keep originals visible: Mount to show deckled edges where present; avoid over-matting that hides inscriptions.
• Document conservation work: Treatment reports and before/after images build trust with future buyers.

Market position, provenance, and valuation approach

Deluermoz occupies a niche favored by collectors of early 20th-century French animalier art, circus imagery, and expressive draftsmanship. Market strength typically tracks:

• Subject matter: Big cats, dynamic horses, and well-composed circus scenes tend to outpace more generic studies.
• Medium and scale: Finished watercolors and oils rank highest; small graphite sketches follow; printed editions vary with rarity and quality.
• Condition: Crisp lines and fresh paper are prized; heavy foxing or fading will depress value.
• Provenance and exhibition: Works with documented chain-of-ownership, early gallery labels, or inclusion in period exhibitions often carry a premium.

Valuation steps

1. Sort by medium and cohesiveness: Identify hand-drawn originals vs. prints; group like with like.
2. Establish dimensions and technique precisely: Include sheet size, image size, and support details.
3. Note inscriptions: Capture titles, dates, studio numbers, and any verso notations.
4. Assess condition thoroughly: Photographs in raking light, close-ups of issues, and UV captures (for oils) are helpful.
5. Research comparables: Focus on similar subjects, sizes, and mediums by Deluermoz and peer animalier artists active in Paris in the same period.
6. Weigh set vs. individual sale: Cohesive, narrative sets may command a premium when kept together; mixed-quality groups may do better split, with top pieces leading.
7. Determine the right value type: Insurance (replacement) value will differ from fair market value; be clear about the intended use of the appraisal.
8. Consider timing and venue: Specialist dealers and auctions with a works-on-paper focus may outperform generalist sales for this material.

Provenance indicators to track

• Dealer and framer labels, especially older Parisian workshops
• Invoices, correspondence, or catalog references
• Estate notations or lot stickers that tie pieces together
• Earlier exhibition tags or checklist numbers

Practical checklist (concise)

• Identify medium for each piece: graphite/ink/watercolor/gouache/pastel/oil/print.
• Measure and record both image and sheet sizes in centimeters and inches.
• Photograph recto and verso; capture signatures, stamps, watermarks, and labels.
• Check for cohesion: matching paper, signatures, subject, date range, and framing.
• Inspect condition in daylight: foxing, mat burn, fading, tears, cockling.
• Test under magnification: look for halftone dots (reproductions) vs. true line.
• Separate originals from lithographs; note edition numbers and any blindstamps.
• Note inscriptions and their medium; beware modern pen on old paper.
• Keep all original mounts and frames until reviewed by a conservator.
• Compile provenance documents; list prior owners and acquisition dates.
• Research at least 6–10 strong comparables; prioritize subject and medium matches.
• Decide on sale strategy: together as a set, or individually, based on quality spread.

FAQ

Q: How can I tell if a piece is an original drawing or a print? A: Use magnification and raking light. Original drawings show pressure into the paper, variable line weight, and occasional corrections. Prints have uniform ink deposition; photomechanical images reveal halftone dots. Lithographs can be original prints, but look for pencil signatures and edition numbers in the margin to distinguish hand-signed impressions from reproductions.

Q: Do unsigned works by Deluermoz have value? A: Yes, especially when style, paper, and provenance align with signed examples. Unsigned studies that clearly match a signed piece within the set, or carry studio notations, can be valuable. Still, unsigned works typically trade at a discount unless accompanied by strong documentation.

Q: Should I reframe before seeking an appraisal or sale? A: Not before documentation. Photograph the current state, including mounts and verso labels, then consult a conservator or appraiser. If reframing is advised, use archival materials and keep all original components, which may contain evidence of provenance.

Q: Are lithographs by Deluermoz considered “original”? A: Lithographs are original prints if created and authorized by the artist, typically in numbered editions, sometimes pencil-signed. They are distinct from hand-drawn one-of-a-kind works and are valued accordingly. Photomechanical reproductions (no edition info, halftone dots) are not considered original prints.

Q: What subjects command the strongest demand? A: Dynamic animal subjects—lions, tigers, horses—and well-resolved circus or arena scenes generally lead the market. Clean condition, confident line, and cohesive grouping can add further appeal, particularly when supported by clear provenance.

Disclaimer: The guidance above is educational. For formal appraisal or conservation treatment, consult qualified professionals and provide them with in-person access to the works.