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*Pierre-Paul Prudhon (1758-1823) two designs for a print of sylvia and the satyr, and two states of the print. a) black and white chalk, and gray wash, on blue paper, indented for transfer; b) brush and brown wash over black chalk, heightened with white (partly oxidized); c) etching by B. Roger (second state); d) etching and engraving by B. Roger (fourth state). (4) a) 118 by 83mm. b) 165 by 97mm. Provenance: C. de Boisfremont (L.353 on a); Mme. de Power, sale, Paris, 15-16 April 1864, lot 116 (229 francs to Lallemand); Lallemand, sale, Paris, 28 May 1892, lot 69 (310 francs);Baron Vitta; A. Renouard, sale, Paris, 20 November-23 December 1854, lot 1700 (750 francs to Carrier); Henry Didier, sale, Paris, 10-11 June 1868, lot 140; Ra

*Pierre-Paul Prudhon (1758-1823)
two designs for a print of sylvia and the satyr, and two states of the print.
a) black and white chalk, and gray wash, on blue paper, indented for transfer;
b) brush and brown wash over black chalk, heightened with white (partly oxidized);
c) etching by B. Roger (second state);
d) etching and engraving by B. Roger (fourth state). (4)
a) 118 by 83mm.
b) 165 by 97mm.
Provenance:
C. de Boisfremont (L.353 on a);
Mme. de Power, sale, Paris, 15-16 April 1864, lot 116 (229 francs to Lallemand);
Lallemand, sale, Paris, 28 May 1892, lot 69 (310 francs);Baron Vitta; A. Renouard, sale, Paris, 20 November-23 December 1854, lot 1700 (750 francs to Carrier);
Henry Didier, sale, Paris, 10-11 June 1868, lot 140;
Raphael Esmerian, his sale, Paris, Palais Galliera, 6 June, 1873, lot 81, the two drawings with the first and third states of the print (65000 francs).
Alexandre Dumas, sale, Paris, 12 May 1892, lot 210 (unsold) and 2 May 1896, lot 113 (7900 francs);
G. Muhlbacher, sale, Paris, 15-18 May 1899, lot 237 (13000 francs to Wildenstein);
Mme. de Poles, sale, Paris, 22 June 1927, lot 11 (49234 francs);
Lot 347 continued
Exhibited:
Paris, Ecole des Beaux-Arts, Prud'hon, May 1874, cat.273;Paris, Exposition de dessins de Maitres anciens, 1879, cat.664.
Literature:
C. Clement, Prud'hon, sa vie, ses oeuvres et sa correspondance, Paris 1872, pp.255-56, pl.XVII;
E. de Goncourt, Catalogue raisonne de l'Oeuvre, Paris 1876, pp.230-32;
R. Portalis, Guide de L'Amateur de Livres a Gravures du XVIIIe Siecle, Paris 1886, under cat.571;
J. Guiffrey, L'Oeuvre de Pierre-Paul Prud'hon, Paris 1924, pp.396-97, cats.1047 and 1045, pl.XXVIII;
S. Laveissiere, Pierre-Paul Prud'hon, exhib. cat., Paris, Galeries Nationales de Grand Palais and New York, Metropolitan Museum of Art, 1997-98, under cat. 78, note 2.
The engraving, in reverse, after these drawings, was executed by Barthelemy-Joseph-Fulcran Roger for an edition of Tasso's Aminta published in 1800 by Antoine-Auguste Renouard.
Although chiefly admired today for his large-scale figure drawings, Prud'hon, like many of the painters of the Neoclassical period, was very much involved in designing book illustrations. In addition to providing these artists with another means of enlarging their audience and reputation, it also gave a steady source of income in the difficult period around the Revolution. Prud'hon worked first for Pierre Didot and later for Antoine-Augustin Renouard, for whose edition of Tasso's Aminta the present work served as a vignette. The tiny scale of the designs challenged Prud'hon, who was used to working on a larger scale. Nonetheless, he is able to create a convincing sense of place and a decadent eroticism. However, according to Renouard, the finished drawing (b) required so much work from Prud'hon that he refused to execute any further illustrations in the same medium (see S. Laveissiere loc. cit.).
*Pierre-Paul Prudhon (1758-1823)
two designs for a print of sylvia and the satyr, and two states of the print.
a) black and white chalk, and gray wash, on blue paper, indented for transfer;
b) brush and brown wash over black chalk, heightened with white (partly oxidized);
c) etching by B. Roger (second state);
d) etching and engraving by B. Roger (fourth state). (4)
a) 118 by 83mm.
b) 165 by 97mm.
Provenance:
C. de Boisfremont (L.353 on a);
Mme. de Power, sale, Paris, 15-16 April 1864, lot 116 (229 francs to Lallemand);
Lallemand, sale, Paris, 28 May 1892, lot 69 (310 francs);Baron Vitta; A. Renouard, sale, Paris, 20 November-23 December 1854, lot 1700 (750 francs to Carrier);
Henry Didier, sale, Paris, 10-11 June 1868, lot 140;
Raphael Esmerian, his sale, Paris, Palais Galliera, 6 June, 1873, lot 81, the two drawings with the first and third states of the print (65000 francs).
Alexandre Dumas, sale, Paris, 12 May 1892, lot 210 (unsold) and 2 May 1896, lot 113 (7900 francs);
G. Muhlbacher, sale, Paris, 15-18 May 1899, lot 237 (13000 francs to Wildenstein);
Mme. de Poles, sale, Paris, 22 June 1927, lot 11 (49234 francs);
Lot 347 continued
Exhibited:
Paris, Ecole des Beaux-Arts, Prud'hon, May 1874, cat.273;Paris, Exposition de dessins de Maitres anciens, 1879, cat.664.
Literature:
C. Clement, Prud'hon, sa vie, ses oeuvres et sa correspondance, Paris 1872, pp.255-56, pl.XVII;
E. de Goncourt, Catalogue raisonne de l'Oeuvre, Paris 1876, pp.230-32;
R. Portalis, Guide de L'Amateur de Livres a Gravures du XVIIIe Siecle, Paris 1886, under cat.571;
J. Guiffrey, L'Oeuvre de Pierre-Paul Prud'hon, Paris 1924, pp.396-97, cats.1047 and 1045, pl.XXVIII;
S. Laveissiere, Pierre-Paul Prud'hon, exhib. cat., Paris, Galeries Nationales de Grand Palais and New York, Metropolitan Museum of Art, 1997-98, under cat. 78, note 2.
The engraving, in reverse, after these drawings, was executed by Barthelemy-Joseph-Fulcran Roger for an edition of Tasso's Aminta published in 1800 by Antoine-Auguste Renouard.
Although chiefly admired today for his large-scale figure drawings, Prud'hon, like many of the painters of the Neoclassical period, was very much involved in designing book illustrations. In addition to providing these artists with another means of enlarging their audience and reputation, it also gave a steady source of income in the difficult period around the Revolution. Prud'hon worked first for Pierre Didot and later for Antoine-Augustin Renouard, for whose edition of Tasso's Aminta the present work served as a vignette. The tiny scale of the designs challenged Prud'hon, who was used to working on a larger scale. Nonetheless, he is able to create a convincing sense of place and a decadent eroticism. However, according to Renouard, the finished drawing (b) required so much work from Prud'hon that he refused to execute any further illustrations in the same medium (see S. Laveissiere loc. cit.).