Adolphe, Edgar, Monsieur

Introduction:

Best known as a talented Brighton-based profile painter, French-born EDGAR ADOLPHE (ca.1807-1890) was initially a Writing Master before becoming an itinerant commercial silhouettist in 1833. Combining both occupations in tandem, he would also, like other artists at work in the mid-19th century, adopt the relatively new art of photography. Briefly imprisoned for libel, and later in court regarding marriage issues, research indicates Adolphe was also a notably feisty individual.

Proficient and prolific, Adolphe crafted black, bronzed and coloured bust-sized, three-quarter and full-length profiles, coloured profile miniatures and coloured full-length works with sitters' faces delineated. Several of the latter housed in the collection of Brighton and Hove Museum are of the town's 'personalities'.

Chosen base colours were greyish-green or sepia, though most extant examples evidence a bluish dark-grey ground. Highlighting is generally of good quality though gum arabic can be too thickly applied. Full-length figures are virtually always posed on creamy-yellow paving flags and virtually all are signed on the obverse "Adolphe" or "Adolphe Brighton". Bust-sized works are often signed "Adolphe" below bust-line terminations of considerable variation. Eight trade labels, some printed on coloured paper, are recorded; all bar 2 are specific to Brighton.

Doubtless used 'on the road', his first trade label records Adolphe "Miniature Painter and Profilist to LOUIS-PHILIPPE King of the French". However, given that Adolphe was working in Britain for the duration of the King's reign (1830-1840), the accreditation seems implausible.

Aged 22, and first recorded in the TAUNTON COURIER 22nd April 1829 and the NORTH DEVON JOURNAL 4th June 1829, Adolphe placed advertisements awash with equally questionable credentials. Coming "FROM THE ROYAL ACADEMY PARIS...[he offered his]...IMPERIAL & ROYAL SYSTEM OF WRITING..." to pupils aged 12 to 70. Receiving approval from the "...Royal Academy, Christ's College and...public schools such as Eton and Charterhouse where he...[taught]...his system", he also held "documents" from English and French nobility. Furthermore, being patronised by the King of France, this time Charles X, Adolphe possessed "...a Certificate from the King which could be seen by applying to his Rooms".

While the above credentials are suspect, the quality of his calligraphy appears accomplished, since he was commissioned to apply his hand to Worcester's Freedom of the City charter presented to Henry Paget, 1st Marquess Anglesey (1768-1853): the WORCESTER JOURNAL 17 December 1829 stating the "...writing...[on vellum]...was executed by M. Adolphe".

Profiles were executed from the summer of 1833. Described by a correspondent in DRAKARD'S STAMFORD PRESS 23rd July 1833 as "Monsieur Adolphe, the celebrated French artist...[the style of his profiles were judged]...admirable, the finishing most excellent and the likenesses inimitable...".

Puzzlingly, it took another 6 months before Adolphe advertised his venture into the art. The HUNTINGDON, BEDFORD AND PETERBOROUGH GAZETTE 14th December 1833 records his "...distinguished Patronage at Stamford and Peterborough. LIKENESSES in PROFILE Frame and Glass included...[were offered for 1 shilling]...MINIATURES on IVORY or CARD for Lockets, Brooches, Bracelets...[priced]...proportionately low; COLOURED and BRONZED PROFILES or PORTRAITS finished in a superior style...". Evidenced by the HEREFORD TIMES 28th October 1835, the profiles were "...neither cut out nor taken by Machine".

Between 1834-1838, now shorn of Royal or Noble connections, advertisements record both strands of employment offered in Wales, Devon, Lincolnshire, Huntingdonshire, Gloucestershire and Dorset. In the second half of 1838, Adolphe arrived in Brighton and remained there for the next 8 years.

To be continued

Gallery Silhouettes