Jean
Audran (1667–1756)
“Henri IV délibère sur son futur mariage” (as inscribed on plate; transl.
“Henri IV deliberates on his future marriage”) after the painting (now in the Musée
du Louvre, inv. no.1772) by Peter Paul
Rubens (1577–164), c1707–9, plate 7 from the series of 25 plates (including
the frontispiece) reproducing Rubens’ paintings commissioned by Marie de Médici in 1621 to illustrated episodes from her life, “La Gallerie du Palais du
Luxembourg”, published in Paris by the intermediary draughtsman/designer, Jean Marc Nattier (aka Jean Marc
Natier) (1685–1766) with privilege.
Etching and engraving on heavy laid paper with small margins.
Size: (sheet) 51.6 x 36.8 cm; (plate) 50.3 x 35 cm; (image
borderline) 44.8 x 33.8 cm
Lettered on plate below the image borderline: (left) "Rubens
pinxit"; (centre in five lines of French text) “Henri IV. délibère sur
son futur marriage. / Jupiter et Junon ayant consulté ensemble sur le marriage du
Roy, et luy ayant inspiré le chois de son Épouse / l’hymenée lui en aporte le
portrait, et l’Amour fait observer à ce Monarque tous les traits de la beauté dont
on voit / qu’it est epris: Et pendant que la France le sollicite à la
conclusion, deux amours se saisissent de son casque et de son / bouclier, comme
pour lui ôter les instrumens de la guerre et pout laisser jouir le Royaume d’une
longue paix.”; (right of centre below the five lines of text) “A. Paris chez le
S.r Nattier Peintre de l'Academie Royale rüe Frementeau. Avec Privilege du Roy.";
(right) "I.M. Nattier delineavit. I. Audran Sculpsit."
(Transl. “Henri IV deliberates on his future marriage. / Jupiter
and Juno having consulted together on the marriage of the King, and having
inspired him the choice of his Bride / the hymenée [Hymen or God of Marriage]
brings him the portrait, and the Love makes observe to this Monarch all the
features of the beauty of which we see / that it is taken: And while France
solicits it to the conclusion, two loves seize his helmet and his / shield, as
for him to remove the instruments of the war and to allow to enjoy the Kingdom
of a long peace.)
Schneevoogt 1873 220.19.7 (C G Voorhelm Schneevoogt 1873, “Catalogue
des estampes gravées d'après P.P.Rubens”, Haarlem); IFF 30 (XVIIIc) (Inventaire
du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris,
1930); Le Blanc 331
The British Museum offers the following description of this print:
“Plate 7: The Presentation of the portrait of Marie de' Medici;
Henri IV standing in armour at left and looking up at a painted portrait of his
future wife, held by Hymen and Cupid, Jupiter and Juno onlooking from above, a
female personification of France standing behind the king, two putti carrying
away the king's armour below; after Peter Paul Rubens.”
Condition: crisp and well-inked impression with small margins in
excellent condition (i.e. there are no tears, holes, abrasions, stains or
foxing, but there are minor spots of light toning in the outer margin).
I am selling this large print, reproducing a pivotal event in
Ruben’s famous suite of paintings featuring and commissioned by Marie de Médici,
for AU$197 in total (currently US$153.03/EUR124.05/GBP107.50 at the time of
posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this fascinating translation
of a non-verbal communication between the ancient gods and Henri IV as he
consults with them about a possible marriage with the lady who commissioned the
image and features in the portrait at the image centre, please contact me
(oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make
the payment easy.
This print has been sold
This etching (with engraving) translates Ruben’s painting of Henri
IV—the King of France and Navarre (1553–1610)—in a moment of quandary as Henri
contemplates a potential marriage with Marie de Médici that the ancient gods are
encouraging.
In the foreground at left, Henri IV is presented by Hymen (the God
of Marriage) with a framed portrait a lightly smiling Marie de Médici as a
potential spouse. Just in case Henri may not notice this framed portrait, Cupid
(the God of Love) assists by pointing his index finger towards Marie’s face. Henri,
however, is clearly ignoring Cupid’s invitation to look at the painting as his
eyes have ascended to the two gods—Jupiter (the chief god of the Roman
pantheon) and Hera (Jupiter’s consort and protector women’s concerns)—portrayed
in the clouds above. From my reading of the direction of Henri’s gaze, he seems
to be non-verbally consulting with these gods about taking Marie’s hand in
marriage. Judging by Jupiter’s approving smile seen in context with the slight
tilt to Hera’s head and her hand resting on Jupiter’s thigh while gesturing
broadly in the direction of Henri and the framed Marie, I think that Henri
would be in little doubt that he had their blessing. To ensure that Henri doesn’t
change his mind, note that Marianne (the personification of France) portrayed
immediately behind Henri is about to nudge him towards the proffered portrait
and a pending marriage.
