.jpg?w=1)
.jpg?w=1)
Lot Essay
These magnificent reliefs depict Charles de Beauclerc (or Le Beauclerc) – proudly identified by an inscription in relief around the edge - and his wife Gabrielle Robin whom he married in 1585. Beauclerc was a prominent French aristocrat and statesman, who served the French Crown in successively important roles throughout the late 16th and early 17th centuries. Born into a family with a record of serving the state, his first notable role seems to have been achieved when he was still relatively young, when he was appointed controlleur-general des finances of Hercules François, duc d’Anjou in 1584. His final and most significant position was when he was appointed secretaire d’Ētat à la guerre (Secretary of State for War) under Louis XIII on 5 February 1624, a post which he held until his death in 1630.
The medallion of Beauclerc has been convincingly attributed to Guillaume Dupré (c. 1574-1642), considered to be the most important French medallist of the era. When compared to other documented reliefs by the artist, this would appear to be the largest of his portrait reliefs (see Jones, loc. cit.). Dupré trained with Barthélemy Prieur (c. 1536-1611), who had been appointed Court Sculptor by Henri IV in 1591. Among other projects they worked together on interior decorations of the Louvre in 1608. Dupré married Prieur’s daughter in 1600.
Although best known for his smaller scale medals, Dupré also worked on large scale projects including several funeral monuments. Technically, the relief of Beauclerc relates extremely closely to many of his medals which are incuse casts. These are casts where the reverse closely mirrors the details of the front. This method ensures an even and relatively thin cast which is particularly important for the successful casting of reliefs modelled in high relief as with the present example. A report by Dr Richard Stone of the Metropolitan Museum of Art New York (6 October 2006) confirms this casting technique.
The elaborate details of the fashionable brocade jacket and luxurious ruff contrast with the austere portrait of Beauclerc himself who gives the impression of being a serious and astute courtier. It must date from the years 1624 (when he was made Secretary of State – as related in the inscription) and his death six years later. It would be a fitting commission for a man at the apogee of his career, wanting to commemorate his success with an important portrait by one of the most renowned sculptors of the French court.
Interestingly, the portrait of Beauclerc’s wife, Gabrielle Robin, appears to date from a few years later, although clearly created as its pendant. It is actually made of brass instead of bronze, and is not an incuse cast like the portrait of her husband, suggesting that it was produced by a different foundry. Significantly, it also depicts her in a widow’s veil (or cap), confirming that it post-dates the death of her husband in 1630. It was almost certainly cast, therefore, between that date and the date of her own death six years later in 1636.
Both portraits are subtle characterisations of their sitters. Although it is less easy to attribute the relief of Gabrielle Robin to a particular artist, it is clear that they come from the same immediate artistic circle. It is worth noting that their son, Abraham (1600-1647) was also a sculptor and medallist and it may be that he was responsible for creating the portrait of his bereaved mother.
The medallion of Beauclerc has been convincingly attributed to Guillaume Dupré (c. 1574-1642), considered to be the most important French medallist of the era. When compared to other documented reliefs by the artist, this would appear to be the largest of his portrait reliefs (see Jones, loc. cit.). Dupré trained with Barthélemy Prieur (c. 1536-1611), who had been appointed Court Sculptor by Henri IV in 1591. Among other projects they worked together on interior decorations of the Louvre in 1608. Dupré married Prieur’s daughter in 1600.
Although best known for his smaller scale medals, Dupré also worked on large scale projects including several funeral monuments. Technically, the relief of Beauclerc relates extremely closely to many of his medals which are incuse casts. These are casts where the reverse closely mirrors the details of the front. This method ensures an even and relatively thin cast which is particularly important for the successful casting of reliefs modelled in high relief as with the present example. A report by Dr Richard Stone of the Metropolitan Museum of Art New York (6 October 2006) confirms this casting technique.
The elaborate details of the fashionable brocade jacket and luxurious ruff contrast with the austere portrait of Beauclerc himself who gives the impression of being a serious and astute courtier. It must date from the years 1624 (when he was made Secretary of State – as related in the inscription) and his death six years later. It would be a fitting commission for a man at the apogee of his career, wanting to commemorate his success with an important portrait by one of the most renowned sculptors of the French court.
Interestingly, the portrait of Beauclerc’s wife, Gabrielle Robin, appears to date from a few years later, although clearly created as its pendant. It is actually made of brass instead of bronze, and is not an incuse cast like the portrait of her husband, suggesting that it was produced by a different foundry. Significantly, it also depicts her in a widow’s veil (or cap), confirming that it post-dates the death of her husband in 1630. It was almost certainly cast, therefore, between that date and the date of her own death six years later in 1636.
Both portraits are subtle characterisations of their sitters. Although it is less easy to attribute the relief of Gabrielle Robin to a particular artist, it is clear that they come from the same immediate artistic circle. It is worth noting that their son, Abraham (1600-1647) was also a sculptor and medallist and it may be that he was responsible for creating the portrait of his bereaved mother.