Jean-Claude Richard

https://www.mahmah.ch/collection/oeuvres/bacchanale-de-petits-amours/e-2011-0632 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0300622517 https://nds.museum-digital.de/object/72617 https://www.lombardiabeniculturali.it/assets/immagini/liv2/S310RL/SC/S/5r010/00/S_5r010-00453_IMG-0000049432.jpg 1) The engraving, made in 1771 using the etching and aquatint technique, faithfully reproduces a composition by the Baroque Flemish master Peter Paul Rubens. At the center of the lower margin the specific inscription can be read; 2) The engraving, made in 1772 using the etching and aquatint technique, faithfully reproduces a tempera painting by Nicolas Poussin dating from about 1626, then housed in Rome within the Cardinale Chigi's collection; 2 Engraving on a single sheet, intaglio print on laid paper with watermark, signed and dated, good plate imprinting. Support: Laid paper and threads, watermark "monte sovrastato da una croce" and letters "S" and "I"; State: Excellent black-and-white inking, good conservation with slight signs of foxing and browning as in the photo; Insured shipping via Bartolini/DPD courier. To take advantage of the insurance coverage, any damage to the package must be disputed and reported to the courier at the time of delivery. Otherwise, it will not be possible to activate the insurance reimbursement procedure. Fragonard Jean Honoré (1732/ 1806): draftsman De Saint-non Richard Jean Claude (1727/ 1791): engraver SAINT-NON, Jean-Claude Richard, abbot of (1727-1791). Collection of views, landscapes, ancient fragments and historical subjects by the Griffonis. Paris, undated [circa 1750/1770]. Fine copy with the Stroganov coat of arms. Most of the compositions are inspired by masters of Italian and French painting, including Hubert Robert and Jean-Honoré Fragonard. It may happen that the composition of the collection varies from one copy to another – it is quite complete with all the suites, thus providing an overview of the masterpieces preserved in Rome, Naples, Bologna and Venice. It is a collection particularly important for the history of engraving: as Gordon Ray states, "nowhere else are there so many of those who could be called incunabula in aquatint, datable between the late 1760s and early 1770s, between two covers". Ray, The Art of the French Illustrated Book from 1700 to 1914, I, 68; Brunet, V, col. 56; Cohen-de Ricci, col. 930-931. In-folio (490 x 319 mm). First edition, first issue, without the mention "La veuve Lavoye" on the plates. 295 engraved plates of various formats, including: collection of views, landscapes, ancient fragments and historical subjects by the Griffonis (1 title and 40 plates); Selected fragments among the most interesting paintings of the Palaces and Churches of Italy. First suite: Rome. (1 title and 27 plates); Second suite: Rome. (1 title and 25 plates); Fourth suite: Venice. (1 title and 37 plates); Third suite: Bologna. (1 title and 39 plates); Second suite: Naples. (1 title and 29 plates); Second suite of Naples (1 title and 47 plates); Various subjects (37 plates). Wikipedia

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