W. DICKINSON (1746) after VERNET (1714), Fisherman by moonlight, 1806, Mezzotint William Dickinson (1746 London - 1823 Paris) after Claude Joseph Vernet (1714 Avignon - 1789 Paris): Fisherman by moonlight, 1806, Mezzotint Technique: Hand colored Mezzotint on Paper Inscription: At the lower part inscribed in the printing plate: "J. Vernet pinxit. / Publié le 1er. Mai 1806. / Le Clair de Lune, / Gravé par Dickinson, d'après le Tableau peint par J. Vernet, faisant partie du Muséum de Napoléon 1.er Empéreur des Français. / à Paris chez Banee, Md. d'Estampes, rue St. Denis, No. 214.". Date: 1806 Description: It is only in the last 10 to 15 years that art historical research has increasingly focussed on the subject of 'reproduction prints'. For a long time, this genre was not recognised as having any artistic value in its own right, as these prints were seen as merely mindless reproductions of great works of art without any artistic value of their own. Tragically, one of the greatest printmakers, Adam von Bartsch, massively promoted this devaluation himself at the beginning of the 19th century with his encyclopaedia Le Peintre Graveur, in which the independent artist's prints in particular are thematised. But Romanticism also dealt a severe blow to engraving with its cult of genius. It should not be forgotten that for centuries many artists were only familiar with the works of other masters through their reproductive engravings, which is why this pejorative categorisation was not even made. One need only think of Marcantonio Raimondi, whose high-quality engravings after Raphael played a considerable part in the Europe-wide fame of his contemporaries. The two large-format colour engravings here, also painted by hand in watercolour, illustrate the high standards that reproduction printmaking still had towards the end of the 18th century. With the development of new graphic techniques, from crayon technique to mezzotint and lithography, the aim was to recreate artistic models, such as François Boucher's red chalk drawings, ever more precisely and saw them not as soulless copies, but as congenial realisations. It was not for nothing that people in England in the late 18th century were fond of exchanging Rembrandt engravings for crayon manners after French masters. With their somewhat schematic and routine reworking with watercolours, our sheets certainly reveal the mass market for which these sheets were created. However, it is also clear that this is not merely a reproduction of a composition by the celebrated marine painter Claude Joseph Vernet, but that the medium can be trusted to convey mood and emotion just as much as the original. It is remarkable that the prints develop their very own aesthetic of contrasts and colours due to their technical conditions. Unfortunately, prints such as these are the last witnesses of an intensively pursued and high-quality art genre that was unable to assert its place in the 19th century between poor mass copying and ingenious, independent artist prints. Keywords: Figures, Water, Italy, River, Nature, 19th century, Classicism, Landscape, Germany, Size: Paper: 53,0 cm x 70,8 cm (20,9 x 27,9 in), Depiction: 46,0 cm x 66,3 cm (18,1 x 26,1 in)

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估价 750 - 1 000 EUR

起始价格 500 EUR

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拍卖费用： 25 %

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编号 52

估价 100 - 120 EUR

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编号 213

估价 150 - 200 EUR

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编号 336

起始价格 500 EUR

W. DICKINSON (1746) after VERNET (1714), The waterfalls of Tivoli, 1806, Mezzotint William Dickinson (1746 London - 1823 Paris) after Claude Joseph Vernet (1714 Avignon - 1789 Paris): The waterfalls of Tivoli cascades in front of a city vista, 1806, Mezzotint Technique: Hand colored Mezzotint on Paper Inscription: At the lower part signed in the printing plate: "J. Vernet pinxit. / Publié le 1er. Mai 1806. / La Cascade de Tivoli, / Gravée par Dickinson, d'après le Tableau peint par J. Vernet, faisant partie du Muséum de Napoléon 1.er Empéreur des Français. / à Paris chez Banee, Md. d'Estampes, rue St. Denis, No. 214.". Date: 1806 Description: It is only in the last 10 to 15 years that art historical research has increasingly focussed on the subject of 'reproduction prints'. For a long time, this genre was not recognised as having any artistic value in its own right, as these prints were seen as merely mindless reproductions of great works of art without any artistic value of their own. Tragically, one of the greatest printmakers, Adam von Bartsch, massively promoted this devaluation himself at the beginning of the 19th century with his encyclopaedia Le Peintre Graveur, in which the independent artist's prints in particular are thematised. But Romanticism, with its cult of genius, also dealt a severe blow to the post engraving. It should not be forgotten that for centuries many artists were only familiar with the works of other masters through their reproductive engravings, which is why this pejorative categorisation was not even made. One need only think of Marcantonio Raimondi, whose high-quality engravings after Raphael played a considerable part in the Europe-wide fame of his contemporaries. The two large-format colour engravings here, also painted by hand in watercolour, illustrate the high standards that reproduction printmaking still had towards the end of the 18th century. With the development of new graphic techniques, from crayon technique to mezzotint and lithography, the aim was to recreate artistic models, such as François Boucher's red chalk drawings, ever more precisely and saw them not as soulless copies but as congenial realisations. It was not for nothing that people in England in the late 18th century were fond of exchanging Rembrandt engravings for crayon manners after French masters. With their somewhat schematic and routine reworking with watercolours, our sheets certainly reveal the mass market for which these sheets were created. However, it is also clear that this is not merely a reproduction of a composition by the celebrated marine painter Claude Joseph Vernet, but that the medium can be trusted to convey mood and emotion just as much as the original. It is remarkable that the prints develop their very own aesthetic of contrasts and colours due to their technical conditions. Unfortunately, prints such as these are the last witnesses of an intensively pursued and high-quality art genre that was unable to assert its place in the 19th century between poor mass copying and ingenious, independent artist prints. Keywords: Italy, Tivoli, Grand Tour, waterfall, cascade, figures, Aniene, 19th century, Classicism, Landscape, Italy, Size: Paper: 53,0 cm x 71,0 cm (20,9 x 28 in), Depiction: 46,0 cm x 66,6 cm (18,1 x 26,2 in)

编号 430

估价 3 000 - 4 000 EUR

Joseph VERNET (1714-1789), d'après View of the town and port of Bayonne Engraving from the Port of France series, based on the collection commissioned by the Marquis de Marigny. Framed 53 x 75 cm. (Moisture stains, wear).

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