Address-Card of the Printseller, Rochoux c. 1855

Editor: So, here we have Charles Meryon's "Address-Card of the Printseller, Rochoux," created around 1855. It's an etching on paper. It feels very detailed and almost like an architectural drawing contained within this decorative frame. What catches your eye in this particular print? Curator: What I see is a carefully crafted advertisement speaking volumes about the economics of art in 19th-century Paris. We're looking at how Meryon used the etching process itself – the precise lines incised into the metal plate, the paper selected for printing – to convey a sense of value and artistry, linking the craftsmanship of printmaking to the "estampes anciennes" Rochoux sells. It blurs the lines between commerce and art; the card is both advertisement and a testament to the skill involved. Do you think Meryon considered this 'art' in the same vein as his more famous cityscapes? Editor: That's fascinating! I hadn’t considered it as an active comment on commercialism. It is interesting to question its art status versus his landscapes. I was viewing it simply as a promotional tool but seeing it in this light, where the material *is* the message…makes you think about value differently. Curator: Exactly! The choice of etching—a meticulous and laborious process—instead of a cheaper, faster method highlights Rochoux's commitment to quality. The materiality of the print becomes inseparable from the message of enduring artistic merit, targeting a specific kind of clientele, valuing traditional craftsmanship and investing in the "old masters". How does the very small edition affect it, compared with mass production? Editor: I hadn’t considered the idea of editions. It elevates the address card from mere advertising to a limited edition artwork. It's so clever how the process itself, the etching and printing, becomes a key part of the story! I’ll never look at a business card the same way again. Curator: It’s a fantastic example of how examining material choices can unlock so much meaning in a piece. Seeing this everyday item as part of the production and circulation of art reframes our understanding.