Hégésippe Moreau

Petits Contes à ma Sœur - Lithograph by Hégésippe Moreau - 1838

1838

Petits Contes à ma Sœur is a Lithograph on paper realized by Hégésippe Moreau in 1838. The artwork is in good condition. Hégésippe Moreau (1810-1838) was a French lyric poet. The r...

Petits Contes à ma Sœur is a Lithograph on paper realized by Hégésippe Moreau in 1838. The artwork is in good condition. Hégésippe Moreau (1810-1838) was a French lyric poet. The r...

Petits Contes à ma Sœur is a Lithograph on paper realized by Hégésippe Moreau, dated 1838 s. The artwork is in good condition except some foxing that doesn't affect the image. Hé...

Petits Contes à ma Sœur is a Lithograph on paper realized by Hégésippe Moreau in 1838. The artwork is in good condition. Hégésippe Moreau (1810-1838) was a French lyric poet. The r...

Romantic antique lithograph of Jocelyn Sauvant, from Lamartine’s literary work, circa 1840. A poetic and emotional 19th-century French composition. Jocelyn Sauvant Laurence de la Mo...

Medium: original etching. This impression on laid paper was printed in 1872 by A. Salmon and published in Paris by Gazette des Beaux-Arts. Plate size: 8 1/4 x 5 inches (210 x 125 mm)...

Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 3). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 110]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

This is an 18th century engraving and etching entitled "Parmigiani Amica" by Robert Strange after a painting by Girolamo Francesco Maria Mazzola, better known as Parmigianino, who lived during the Renaissance period. It was published in London in 1774. As the inscription states, the painting was in the collection of the King of Naples at the time the engraving was made. The engraving depicts a half-length portrait of a young woman, known as Parmigiani's Amica (meaning "female friend" in Italian). She is depicted wearing a simple but elegant dress with a low-cut neckline, which reveals her delicate features and graceful neck. Her hair is arranged in a simple yet stylish manner. She is turning to the right to look lovingly at her infant, which she is holding with her right arm. She is touching the baby's mouth with her left hand. The background of the engraving is plain and unadorned, allowing the viewer to focus entirely on the subject of the portrait. The result is a beautiful and timeless image that captures the essence of Renaissance portraiture. The engraving is printed on watermarked paper. The sheet measures 16.25" high and 12' wide. The sheet is adhered to paper in its upper corners and it has been removed from the paper in its lower corners. There is some mild discoloration and some wrinkling in the margins, including the lower inscription area, and a small dark spot in the upper margin, which may represent a drop of ink occuring at the time of printing. These issues do not involve the image, which is in very good condition. The print is held by several museums and institutions, including: The Metropolitan Museum of Art in New York, The British Museum in London, The Royal Museums of the UK, The British National Trust...