PIERRE-PAUL PRUD`HON (CLUNY 1758-1823 PARIS) - photo 1
PIERRE-PAUL PRUD`HON (CLUNY 1758-1823 PARIS) - photo 2
PIERRE-PAUL PRUD`HON (CLUNY 1758-1823 PARIS) - photo 3
PIERRE-PAUL PRUD`HON (CLUNY 1758-1823 PARIS) - photo 4
PIERRE-PAUL PRUD`HON (CLUNY 1758-1823 PARIS) - photo 5

PIERRE-PAUL PRUD`HON (CLUNY 1758-1823 PARIS)

Lot 66
11.12.2025 00:00UTC +00:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Event locationUnited Kingdom, London
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ID 1514217
Lot 66 | PIERRE-PAUL PRUD'HON (CLUNY 1758-1823 PARIS)
Estimate value
€ 30 000 – 50 000
PIERRE-PAUL PRUD'HON (CLUNY 1758-1823 PARIS)
Andromaque et Astyanax 
signé des initiales 'PP .P. F' (en bas à droite)
pierre noire, estompe sur papier bleu
34 x 26,9 cm (13 3/8 x 10 ½ in.)




Provenance

Salon, Paris, 1798 (hors catalogue ; op. cit., p. 212, note 4).
Edgard-Salomon Stern (1854-1937) et Marguerite Stern née Fould (1866-1956), château de Villette, Pont-Sainte-Maxence, Oise ;
Confisqué par le Einsatzstab Reichsleiter Rosenberg suite à l'occupation allemande de la France ;
Inventorié dans le Répertoire des biens spoliés en France durant la guerre 1939-1945, Vol. II, Paris, 1947, p.142, sous numéro de classement 3278 et numéro OBIP 36.234 (annoté ‘règlement par indemnité’ en avril 1970; la rature bleue indique que l’œuvre a été, en général, spoliée dans le cadre de la Möbel Aktion soit en 1942 et 1945).
Retourné en France le 19 décembre 1951 et restitué à Marguerite Stern, le 19 avril 1946 ;
Puis par descendance à leur fils, Maurice Stern (1888-1962) et leur belle-fille Alice Stern, née Goldschmidt (1906-2008),
Puis par descendance.



Literature

S. Laveissière, Prud'hon ou le rêve du bonheur, cat. exp., Paris, Grand Palais, New York, The Metropolitan Museum of Art, 1998, p. 212, note 4.



Further details

PIERRE-PAUL PRUD'HON, ANDROMACHE AND ASTYANAX, BLACK CHALK, STUMP, SIGNED

The present drawing is part of a publishing project led by Firmin Didot from 1791 to 1803, which brought together several artists including David, Girodet and Prud'hon for the edition of Racine's Andromache. Prud'hon was supposed to illustrate each of the five acts of the play, but he was dropped from the project. In the end, he designed only the frontispiece to Racine's Œuvres (1801-1805). He did, however, work on the illustration of Act II, the scene of Andromache and Astyanax. This is illustrated by a sketch on blue paper in the Albertina Museum in Vienna on blue paper showing Andromache holding her son Astyanax in her arms (inv. 12914; S. Laveissière, Prud'hon ou le rêve du bonheur, cat. exp., Paris, Musée du Louvre, New York, Metropolitan Museum of Art, 1997, no. 158, ill). The sheet has the same format as the illustrations published by Didot for Racine, proving that Prud'hon carefully considered the project before being dismissed. The present drawing, with the same composition as the one in Vienna, is the finished version of the latter, and was exhibited at the Salon in 1798. Prud’hon uses here his preferred technique, black chalk, subtly blended to reveal shadows and light.
A few years later, Prud'hon reused this composition in a painting for Empress Marie-Louise. Announced at the Salon of 1817, it was never exhibited and remained unfinished in the artist's studio until his death. It was finished by the painter Charles-Pompée Le Boulanger de Boisfremont (1773-1838) and is now in the Metropolitan Museum of Art in New York (inv. 25.110.14; ibid., no. 161). Although Prud'hon used part of the composition of the present drawing, he made several preparatory drawings, as the composition, with its long format, featured a larger number of figures, placed differently. A very complete corresponding drawing on blue paper is in the Musée du Louvre (inv. RF 1454; ibib., no. 159), while a drapery study for the nurse in front of Andromache and Astyanax is in the Musée Baron Martin de Gray (ibib., no. 160) and another for Andromache's drapery in the Musée Bonnat in Bayonne (ibib., p. 218). Referenced only in older sources at the time of the 1997 monographic exhibition, the drawing has now reappeared as a major rediscovery, having remained in the same collection, hidden from view, since the first half of the twentieth century.
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8 King Street, St. James's
SW1Y 6QT London
United Kingdom
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11.12.2025 – 11.12.2025
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