Two aquatint etchings, each 225 x 152 mm (sheet: 285 x 192 mm).
Ca.1894

Proofs signed in blue pencil and numbered respectively 1/50 and 13/50, reduced margin on one of the three sides, remains barely visible on M.Guinguelino of an old annotation in pencil in the border lower.

As early as 1890 Eugène Delâtre began research on color etching, starting with the possibilities offered by the marking technique and then experimenting with “doll-style” inking. His mastery of color printing processes was such that the artist sometimes managed to create the illusion of watercolor with the same effects of transparency.
Delâtre's workshop was as much a landmark, a school, a laboratory for painters-engravers as the cradle of his own creations. The diversity of this space undoubtedly explains the stylistic variations of the artist. If his meeting and his collaboration with Steinlen nourished for a time his inclinations towards naturalist themes, the subject like the treatment of these two cats is reminiscent of the numerous prints of felines that the latter produced.
However, he was never a plagiarist, contenting himself with drawing from those he admired elements which he used to fuel his own creation.

Reference : 
-Impressions à Montmartre, Eugène Delâtre and Alfredo Müller, P.D Cate, N.H Zmelty and H.Koehl, Silvana Editoriale, 2013