L’Amitié; L’Amour et l’Ame; L’Amour ayant désarmé les Dieux présente la couronne à son héraut; Génie de la Musique en bas relief; La fidelle amitié; L’Amour et l’Amitié; and Jardinier cherchant de l’eau

Details

After François Boucher (Paris 1703-1770)
L’Amitié; L’Amour et l’Ame; L’Amour ayant désarmé les Dieux présente la couronne à son héraut; Génie de la Musique en bas relief; La fidelle amitié; L’Amour et l’Amitié; and Jardinier cherchant de l’eau
inscribed 'Longe et Propre./ Mors et Vita.' (i)
traces of black chalk, pen and grey ink, grey wash (i), red chalk counterproofs
4¼ x 3 5/8 in. (10.8 x 9 cm.), and smaller
(7)

Provenance

J.-F. Leturq, Paris.

Literature

J.-F. Leturq, Jacques Guay et la Marquise de Pompadour. Notice sur Jacques Guay, Paris, 1873, pl. K (no. 1), pl. J (no. 4), pl. J (no. 3), pl. J (no. 2), pl. K (no. 2), pl. K (no. 3) and pl. J (no. 1).
K.K. Gordon, 'Madame de Pompadour, Pigalle, and the Iconography of Friendship', The Art Bulletin, September 1968, p. 255.
P. Jean-Richard, L'Oeuvre gravé de François Boucher dans la Collection Edmond de Rothschild, Paris, 1978, under nos. 1481, 1485, 1488, 1492, 1493, 1494 and 1512.

Special notice

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Lot Essay

These red chalk counterproofs, and the pen and ink drawing, relate to engravings, in reverse, by Madame de Pompadour (1721-1764) published in the Suite d'estampes Gravées Par Madame la Marquise De Pompadour d'Après les Pierres gravées de Guay, Graveur du Roi. As the title suggests, the prints are after intaglios by Jacques Guay (1711-1797). The intaglios were based on (now lost) drawings by Boucher and the present counterproofs might be taken from drawings after the originals by Boucher. For more on the Suite by Madame de Pompadour, see: S.M. Wager, 'The earliest known version of Madame de Pompadour's 'Suite d'Estampes' rediscoverd', The Burlington Magazine, April 2017, CLIX, pp. 285-289.

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