Printmaking in Paris – Atelier Lacourière et Frélaut

Serge at the press - Atelier Lacourière et Frélaut

Serge at the press – Atelier Lacourière et Frélaut

Parisians and most visitors know that Paris is a city for walking.  In addition to the must-see monuments, churches, and museums, whether on the narrow streets or along the broad avenues and boulevards, there are always discoveries to be found. Sometimes, as we wind our way through these rues and avenues, we are passing by interesting things that often go unnoticed, not knowing what we’ve just missed. Other times it’s as if a discovery was meant to be. It’s always a treat to see a placard on a building telling us that some cultural figure from the past lived there, did this, or that, at a specific location.  For me, it’s particularly exciting to happen upon a print studio. Though I haven’t visited all of them, print ateliers are/were located in various neighborhoods throughout Paris: éditions Maeght, Crommelynck, Desjobert, Dutrou, Tazé, Mourlot, Hayter’s Atelier 17 now Contrepointe, Bordas, Clot, Woolworth, each with their unique approach and specialty.

La Basilique du Sacré Cœur de Montmartre is one of the monuments that has drawn countless visitors, up the hill, by tour bus, autobus, taxi, metro, on foot, up the numerous stairways, or by way of the funiculaire. Those who have climbed the stairs or taken a ride on this funiculaire have passed by the entry to the famed Atelier Lacourière et Frélaut, which was located near the top of the stairs, or, when descending, at the first stop down, just beneath the bar and souvenir shop. Many have passed this unassuming doorway, which had no signage to indicate what lay behind it.

11, rue Foyatier

11, rue Foyatier

Enter the doorway, simply marked with the number 11, and one would enter another world, a world where many artists have ventured to work, either independently or at the behest of their publisher or gallerist. Many of the important artists of the twentieth century worked in this atelier, artists whose names are well known and who did important work with Madeleine and Roger Lacourière, Jacques and Robert Frélaut, and Denise Frélaut-Fischerman and Luc Guerin. Many printers who served their apprenticeships there went on to establish other highly respected and successful print studios. They welcomed artists and aided them in their quest for creative expression, often collaborating with them in the various processes that Lacourière et Frélaut was known for. The atelier specialized in gravure — etching, engraving, aquatint, sugar lift, mezzotint, spit-bite — also working with relief processes, and, during the later years of the atelier, lithography. Numerous publications are devoted to the artworks produced by artists who worked there.  Picasso began in the 1930s, producing such works as Minotauromachy, and the Vollard Suite. Buffett, Masson, Matisse, Chagall, Dali, Derain, Giacometti, Miro, Moore, Zoran Music, Soulages, Zao Wou-Ki, and younger generations of artists such as Miguel Conde, Dado, Terry Haas, Christian Fossier, Martin Müller-Reinhart, Louis-Pierre Bougie, Marjon Mudde, Lucie Lambert, Emily Wentworth, Francois Roy, and Sonja Hopf also created works there, to name just a few. As in many of the other ateliers, artists from around the world go to Paris to work.



On my initial visit through the doors at 11, rue Foyatier, I was welcomed by Jacques and Robert, and given a tour of the atelier; on the first level, introduced to Nanie, and then down the narrow stairway to the pressroom on the lower level.


the pressroom

Luc Guerin

Luc preparing ink

Here the plates were proofed and editioned on the massive presses arranged along the wall of windows, or on the smaller presses more centrally located. Each of the master printers worked at their individual stations with their dedicated tools and materials at their presses.


Carlos / Jacques






ink and sunlight

ink & sunlight – Serge

les poupée

les poupées – Serge




library of copper plates

the library of copper plates

During this first visit, I noticed an alphabetized library of copper plates lining the interior wall, each wrapped in a proof pulled from the plate. It was an exciting afternoon and as I was well aware of the legacy of this atelier, I asked if any of Picasso’s plates were still in this library. Both Jacques and Robert apologized, saying that 100 plates had just been donated to the Museé Picasso. And, not skipping a beat, casually reached over and pulled out a plate, at random, and handed it to me. Go ahead, they said, unwrap it. I could see from the proof covering the plate that it was by Marc Chagall. They continued to show me around the atelier — paper prep area, the acid room, the work areas for artists — and then we looked at a few prints from their collection. As we were about to leave I went to get my portfolio and they asked to see what kind of work I did. I opened the portfolio and showed a selection of works I had been working on the past few months. Based on that work I was invited to work at the atelier, and it was made clear that it was not a school for instruction, it was a place for artists to work. Thus began an exciting new chapter for me.

The next week I bought some new copper plates and returned to the atelier and was welcomed by the Frélaut family. Aside from the actual work of making art, the ambiance of working in this atelier provided me inspiration, as well as a place to make work, resulting in numerous, unforgettable experiences and lasting friendships. On the first morning Jacques gave me a more detailed tour of the atelier and set me up with a place to work.

His enthusiasm was infectious and as he was clearing a place for me, he picked up some tools he had customized decades earlier, for Chagall. He explained why he made them, since on initial viewing, they looked unusual when compared to how they would look if you had just bought them. Jacques had retooled the cutting blades to work in reverse, explaining that Marc preferred to pull the tool toward him as opposed to pushing the blade away. Looking up at the shelves above the work table, I saw stacks of handmade rag papers — packages of 100 sheets, all with a publisher’s  watermark from an earlier era.



Once my workspace was set up I knew it was time to get to work. Jacques returned and showed me his approach to aquatint. Rather than try to describe the myriad of thoughts going through my mind about the history, inspiration, impact of working at this atelier, I’ll just say that one thing I always try to do is to go beyond what I have done before, and learn something with each new experience from where and with whom I am privileged to work. I have written about some of these experiences in earlier posts Metro and Primary X².

Luc Guerin

Luc inking the red plate for Primary X ²

One memorable afternoon I was invited downstairs for what I thought was going to be a coffee break. It was immediately clear that someone special was visiting the atelier. Madame Lacourière, widow of Roger, had stopped in to say hello and see what was happening these days in the atelier. A table was cleared, paper laid out, and soon we were sharing an excellent bottle of wine, delicious fromage and a baguette. That was during my first few months of working at the atelier, and I knew I would return for future projects as often as possible.



workroom with poster showing Roger Lacourière, André Masson, Albert Skira


worktable funiculaire

worktables with view of the funiculaire





Marjon Mudde

Marjon Mudde


Martin Müller Reinhart

Martin Müller Reinhart


Louise-Anne Monod-Müeller, Robert Frélaut, Martin Müller Reinhart at Salon de mai, Grand Palais

Louise-Anne Monod-Müller, Robert Frélaut, Martin Müller Reinhart at Salon de mai, Grand Palais


in the workroom

in the workroom













Thanks so much for sharing your story it was so touching to hear about how historical and influential this studio is to so many. I’m just wondering if this studio Is still open. and what are your favorite studios you’ve worked/visited?

So happy to see photograph of the studio. I was there in November 1997 for 2 weeks. Denise was taking care of the studio at that time. Program was organized by French government, L’AFFA and Novotel for five Indian artists. Our work was shown later on in Le Mois de L’estemps in 1988

Bonjour Thomas.

Je viens de découvrir ce blog qui me rappelle de merveilleux souvenirs
Je me rappelle très bien de tes gravures.
L’atelier a définitivement fermé en 2008, et j’ai pu intégrer l’ENSAD( école nationale des arts décoratifs) comme technicien de l’atelier de gravure.
Au plaisir d’avoir de tes nouvelles.

Amir Jerusalem

I was Wondering if any that was working at the printmakers in 1980s up to 1986, have maybe meet with Jacqueline Picasso, ?? I have Info she did visit in 1982 ?

Thomas Alix Johnston

While there were many interesting visitors, artists, patrons, photographers, printmakers, writers, who stopped in the atelier on a regular basis, I was never aware of Jacqueline visiting while I was there. My work period in 1982 was limited to the summer, when I had the unique opportunity to live at La Bateau Lavoir.

kérével tiennick

Que de beaux souvenirs , j’ai appris les rudiments de base de l’affutage des outils et de leur fabrication ; les techniques de l’impression ; j’avais comme maitre d’apprentissage Jacques Frélaut , nous étions en 1980. je me rappelle encore une parole de jacques” je t’ai appris les bases des techniques, tu est maintenant responsable dans l’avenir de la transmission des savoirs, il ne faut pas que le métier se perde”
Je lui suis infiniment reconnaissant des bases solides qu’il m’a donné du métier. je me rappelle aussi à l’époque des conseils précieux de Pierre yves Trémois. Je le vois encore retoucher une gravure au burin avant l’impression dans la salle des machines poser sur un réchaud d’imprimeur; devant le silence de Paris à travers les verrières dans la brume de l’hiver……

Translation: What beautiful memories, I learned the basics of sharpening tools and their manufacture; printing techniques; I had Jacques Frélaut as my apprenticeship master, we were in 1980. I still remember a word from Jacques ”I taught you the basics of techniques, you are now responsible for the transmission of knowledge in the future. the job must not be lost ”
I am infinitely grateful to him for the solid foundations he gave me in the job. I also remember the precious advice of Pierre yves Trémois at the time. I still see him retouching an engraving with a burin before printing in the press room on a hotplate; in front of the silence of Paris through the windows in the winter haze ……

Sheila MacFarlane

I visited there one day in the 1960s when I was working at Atelier 17. Amazing presses! I too saw the plate by Chagall!

Liz Cranwell Ward

Hello everyone connected to this fabulous printing history
Paul Crotto was a very close friend of mine who lived near Rue Lepic
Do you have any memories of him you can share with me please
Many thanks

Thomas Alix Johnston

Liz, I don’t recall Paul during the times I was there. what time period?

pierre COLIN

Que de belles années passées à l’atelier, avec Olivier, Luc, Serge, Olaf, Alexis, Louis,…. aux presses

Luc est toujours aux Arts Décoratifs? Olivier- qu’est-ce qu’il est devenu? et Touré? L’Atelier est maintenant site d’un pub irlandais! :(( Et… les presses sont allées où? Et, comme le dit Pierre Colin- la patrimoine- qui garde les trésors- des planches tenues dans les casiers, des oeuvres, le placard plein de livres illustrés (un mini-B.N.), l’ancienne presse en bois qui se trouvait près du bureau de Nanie. Et elle? elle doit avoir cent ans! et Pierre-Yves Trémois aussi! Comme j’aimerais avoir un site web (Facebook- groupe privé?) où nous pouvons donner de nos nouvelles et en partager avec nos camarades: Annie Rodrigues (??), Marjon Mudde (France), Bjorn Brusewitz (Sweden), Francis Wishart (Provence & New Brunswick,Canada), Miguel Condé (Espagne), John Dent (Australie), Laurel McKenzie (Australie), Grete Marstein (Oslo), Tiennick Kérével (Marseille), Diane de Montbrun (Montpelier?), Claude Legros (le dentiste!-banlieue de Paris?), Lucie Lambert (Vancouver), Pierre Bougie (Québec/Montréal), Remigio Valdes de Hoyos (Montréal), Oscar deWit (Amsterdam) et encore bien d’autres. Et je pense aux amis disparus: Terry Haass, Lillen Dahl Vogt, Martin Müller-Reinhart, Robert Frélaut, Jacques Frélaut, Madeleine Lacourière, Joerg Ortner, Carlos (Jacques Herrera), Michel Ciry, et al.

Wonder memories from 1984 working with Robert .

Has anyone taken over this studio. If not can I recommend an etching studio to visit or perhaps work in (in Paris). I am looking at visiting from Australia later in 2019.

Je suis la fille de Serge un grand merci pour c’est magnifique photo de mon père qui est partie trop tôt merci encore

it was a grand honor to know Serge!

Anyone have any news about Olivier Guérin? Des novellas d’Olivier? Qu’est-ce qu’il est devenu?

Et les presses- après la fermeture de l’Atelier? Etaient-elles dispersées parmi d’autres ateliers?
Et l’ancienne presse en bois qui se trouvait près des bureaux? Où est-elle?

Bonjour , comme vous je cherche à savoir ce que sont devenues les œuvres et le patrimoine. ( cuivres, estampes..)

Un tres Gand merci pour se super hommage que vous lui faite et un magnicadeau de voir mon papa merci de tous coeur

Thomas! This is very lovely, so grand to see Lacouriere Frelaut in the early days. It has been closed for some time now, owners in retirement. There is so much history, NW art on paper, prints, not documemted for public review. The exhibiton in Paris with the young printmakers of Paris with 25 American artists curated by you and the fabulous opening and visits to the Press and the Biblioteque Nacional. An event and trip to Paris I will never forget. Thank you Thomas, KR

I just discovered this link to the print shop where I worked for over 20 years especially between 1980-83 when I was living in Paris. I was a friend of Martin Müller and Marjon Mudde. I have loved so much to work there and to have the etching plates printed by Carlos, Olivier and Luc for books that I published. A lively working and meeting place.

Thank you so much for those pictures that are so meaningful to me. Superb photos.

I have been living in Vancouver for 31 years working only with woodblocks.

Lucie L.

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