GÉRARD AUDRAN (LYON 1640-1703 PARIS) - photo 1
GÉRARD AUDRAN (LYON 1640-1703 PARIS) - photo 2
GÉRARD AUDRAN (LYON 1640-1703 PARIS) - photo 3

GÉRARD AUDRAN (LYON 1640-1703 PARIS)

Lot 47
20.03.2024 15:00UTC +01:00
Classic
Sold
€ 15 120
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1172999
Lot 47 | GÉRARD AUDRAN (LYON 1640-1703 PARIS)
Estimate value
€ 15 000 – 25 000
GÉRARD AUDRAN (LYON 1640-1703 PARIS)

L’Épitaphe du Cardinal de Richelieu avec deux squelettes tenant un cartouche

plume et encre brune et grise, lavis gris, traits d’encadrement à la plume et encre brune, les contours incisé pour transfert

49 x 35,5 cm (19 ¼ x 13 7⁄8 in.)

inscrit ‘Ce Dessein de la Main/ de Gerard Audran graveur du Roi’ (au centre)





Provenance

Jean-Baptiste Descamps (1706-1791), Rouen.

Christopher Powney, Londres.

Lodewijk Houthakker (1926-2008), Amsterdam (L. 3893); vente Christie’s, New York, 11 janvier 1994, lot 72.



Literature

P. Fuhring, Design into Art. Drawings for Architecture and Ornament. The Lodewijk Houthakker Collection, Londres, 1989, II, n° 1092, ill.



Inscribed

en sens inverse par Gérard Audran (?) (fig. 1 ; voir Fuhring, op. cit., p. 753, fig. 54).



Further details

GÉRARD AUDRAN, EPITAPH OF CARDINAL RICHELIEU WITH SKELETONS HOLDING A CARTOUCHE, PEN AND BROWN AND GREY INK, GREY WASH, PEN AND BROWN INK FRAMING LINES, INCISED FOR TRANSFER

This large sheet served as the model for an engraving of Cardinal de Richelieu’s epitaph, affixed to the wall of his funerary chapel in the church of the Sorbonne in Paris, and published after his death. The eulogy to Richelieu found in the print is replaced in this drawing by a later 18th century text that celebrates the painter and professor Jean-Baptiste Descamps (1706-1791) from Rouen, who at some point had owned the drawing. Descamps is praised for having brought to Rouen a taste for art and architecture, and for having reinvigorated local artistic production. According to the author of the inscription, the verso of the drawing, which is now fully laid down, was covered in red chalk as part of the process of transferring it to the copper plate.
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