Tuesday, 30 August 2016
Henriquel-Dupont’s engraving after Raphael
Louis Pierre Henriquel-Dupont (1797–1892)
“La Vierge et l'enfant Jésus” after Raphael, 1854, printed and published by Goupil (active 1827–1919)
The curator of the British Museum advises that this print is “after a drawing which is now in the Cabinet des Dessins, Louvre and which is believed to be a study for a lost painting known as the ‘Madonna Sergardi’.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3192972&partId=1&searchText=Henriquel+Dupont+La+Vierge&page=1)
Etching and engraving on chine collé trimmed within the platemark.
Size: (sheet) 32.1 x 22.7 cm; (image borderline) 25.6 x 18.9 cm
Lettered below the image’s borderline (lower centre): “Gravé par Henriquel Dupont, 1854 / LA VIERGE & L'ENFANT JÉSUS / D’ápres Le Defsin original, de Raphael appartenent au Museé Imperial”
Beraldi 1885-92 86 (Beraldi, Henri, “Les Graveurs du dix-neuvième siècle”, 12 vols plus supplement, Paris, 1885); IFF 87 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930)
Condition: beautiful impression but in poor condition with restorations to the chine collé, trimmed within the platemark and with slight wrinkling. There glue residue at the outer edges (recto) and the back of the sheet is unevenly discoloured with oxidation/age-toning.
I am selling this amazingly delicate and finely executed engraving for AU$61 in total (currently US$45.91/EUR41.14/GBP35.01at the time of posting this listing) including postage and handling to anywhere in the world. (Note that this print has condition issues, as outlined above, and the low price reflects these issues.)
If you are interested in purchasing this exquisite print, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Although this may not be the finest copy on the market of this very beautiful print, the delicacy and loving attention to detail that the master engraver is able to give to this translation of Raphael’s study of the now lost painting, “Madonna Sergardi”, is very evident.
What is remarkable about engravings by Henriquel-Dupont is the care and conspicuous amount of time that he took to make his prints. For example, his most famous engraving, which reproduces Delaroche's decoration for the Hémicycle of the École des Beaux-Arts, took ten years to execute. Such dedication …