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W. GREBNER (*1784) after BREE (*1786), Duke of Brunswick-Oels on his deathbed, around 1815, Crayon m Willem Grebner (1784 Vreeland (Utrecht) - 1866 Amsterdam) after Philippe Jacques van Bree (1786 - 1871 ibid.): Duke Friedrich Wilhelm of Brunswick-Oels on his deathbed, c. 1815, Crayon manner Technique: Crayon manner on Paper Inscription: inscribed and signed at the bottom: "M. J. van Brée Pinxt. Wm. Grebner. Sculpt." and inscribed: "Friedrich Wilhelm, Regierender Herzog von Braunschweig-Lüneburg und Oels; bleibt auf den Höhen von Genappe am 16ten Junius 1815. an der Spitze seiner Braunschweiger, im 42ste. Year of his age." Date: c. 1815 Description: The village of Genappe lies on the direct route from Quatre-Bras to the battlefield of Waterloo. A fierce rearguard action took place there between the Allies retreating towards Wellington and Napoleon's victorious troops at Quatre-Bras, in which Frederick William was mortally wounded. Since 1809, the Duke had been building up the Black Corps, which was to bring back his Brunswick heritage; it had been lost to Jérôme Napoleon's model state of Westphalia. Willem Grebner's impressive crayon etching reproduces a lost painting by the Antwerp history painter van Bree, who was commissioned by the Napoleonic Empire from 1801, but from 1814 devoted himself to the glorification of the House of Orange. The luminous white of the dead man's still open eyes is striking. Grebner's use of the crayon technique, which allows for silky nuances as well as strong chiaroscuro, lends the classicist composition a certain intimacy. The composition and motif are reminiscent of David's Death of Marat, but in the service of restorative hero worship, the iconography of the dead Christ is invoked even more strongly here through the visible side wound. Keywords: printmaking, death, dying, nobility, Netherlands, Waterloo, Napoleon, Wellington, printmaking, military, war, 19th century, Romanticism, People, Germany, Size: Paper: 47,6 cm x 44,8 cm (18,7 x 17,6 in), Plate: 38,6 cm x 37,6 cm (15,2 x 14,8 in), Depiction: 31,0 cm x 37,5 cm (12,2 x 14,8 in)

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W. GREBNER (*1784) after BREE (*1786), Duke of Brunswick-Oels on his deathbed, around 1815, Crayon m Willem Grebner (1784 Vreeland (Utrecht) - 1866 Amsterdam) after Philippe Jacques van Bree (1786 - 1871 ibid.): Duke Friedrich Wilhelm of Brunswick-Oels on his deathbed, c. 1815, Crayon manner Technique: Crayon manner on Paper Inscription: inscribed and signed at the bottom: "M. J. van Brée Pinxt. Wm. Grebner. Sculpt." and inscribed: "Friedrich Wilhelm, Regierender Herzog von Braunschweig-Lüneburg und Oels; bleibt auf den Höhen von Genappe am 16ten Junius 1815. an der Spitze seiner Braunschweiger, im 42ste. Year of his age." Date: c. 1815 Description: The village of Genappe lies on the direct route from Quatre-Bras to the battlefield of Waterloo. A fierce rearguard action took place there between the Allies retreating towards Wellington and Napoleon's victorious troops at Quatre-Bras, in which Frederick William was mortally wounded. Since 1809, the Duke had been building up the Black Corps, which was to bring back his Brunswick heritage; it had been lost to Jérôme Napoleon's model state of Westphalia. Willem Grebner's impressive crayon etching reproduces a lost painting by the Antwerp history painter van Bree, who was commissioned by the Napoleonic Empire from 1801, but from 1814 devoted himself to the glorification of the House of Orange. The luminous white of the dead man's still open eyes is striking. Grebner's use of the crayon technique, which allows for silky nuances as well as strong chiaroscuro, lends the classicist composition a certain intimacy. The composition and motif are reminiscent of David's Death of Marat, but in the service of restorative hero worship, the iconography of the dead Christ is invoked even more strongly here through the visible side wound. Keywords: printmaking, death, dying, nobility, Netherlands, Waterloo, Napoleon, Wellington, printmaking, military, war, 19th century, Romanticism, People, Germany, Size: Paper: 47,6 cm x 44,8 cm (18,7 x 17,6 in), Plate: 38,6 cm x 37,6 cm (15,2 x 14,8 in), Depiction: 31,0 cm x 37,5 cm (12,2 x 14,8 in)

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H. AUBRY-LECOMTE (*1787) after HERSENT (*1777), The children of the Duke of Berry, 1822, Lithograph Hyacinthe-Louis-Victor-Jean-Baptiste Aubry-Lecomte (1787 Nice - 1858 Paris) after Louis Hersent (1777 Paris - 1860 ibid.): The children of the Duke of Berry, 1822, Lithography Technique: Lithography on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "Hersent pinx. - Bonnemaison direxit - Aubry-Lecomte delineavit 1822". At the lower part further inscription: "S. A. R. Mgr le Duc de Bordeaux - S. A. R. Mademoiselle - Imp. lith. de Villain". Date: 1822 Description: Louise Marie Thérèse stands on a small chair and holds the hand of her brother Henri d'Artois, Duke of Bordeaux. The painting's political significance as a portrait of a ruler is due to the absence of the actual regent. The father of the two children, Charles-Ferdinand d'Artois, Duke of Berry, was murdered seven months before Henri's birth by Pierre Louis Louvel, a saddler in the royal stables, on 13 February 1820 in front of the Paris Opera. Louvel wanted to end Bourbon rule in France with this assassination, but created a martyr who now symbolised the Restoration in France. His posthumous successor Henri d'Artois, the enfant du miracle, became Charles X's successor after his abdication following the July Revolution, although he was unable to remain in France. After the death of Charles X, Henri was again proclaimed the rightful king of France by the Bourbon loyalists and after both 1848 and 1870 he was to ascend the throne again as Henry V, but this failed. The masterly graphic depiction of the Infante shown here is therefore particularly interesting because it celebrates the continuation of the reign after the assassination of the Duke of Berry. The comparison with the Christ child in the stable suggests itself and the fixated gaze prefigures a claim to power that is to be honoured. The painter Louise Hersent (1777 Paris - 1860 ibid.) studied under Jean-Baptiste Regnault and became a celebrated portrait and history painter. He was a member of the Institut de France and was appointed professor at the École des Beaux-Arts. Keywords: Children, Genre, Bourdeaux, Bourbon, France, Interior, Family, Revolution, 19th century, Biedermeier, Portraits, France, Size: Paper: 43,1 cm x 31,7 cm (17 x 12,5 in), Plate: 32,8 cm x 26,7 cm (12,9 x 10,5 in)