19 - FRANÇOISE XAVIER VISPRÉ (Paris, c. 1730 – London, 1790/1800).

FRANÇOISE XAVIER VISPRÉ (Paris, c. 1730 – London, 1790/1800). “Trompe-l’œil depicting Joseph and Potiphar’s Wife.” Oil on canvas. Relined. Signed. Measurements: 49 x 35.5 cm; 69.5 x 57 cm (frame). The uniqueness of this work lies in its extraordinary pictorial illusionism, through which François Xavier Vispré transforms an engraving into a composition with a three-dimensional appearance. Executed in grisaille, the painting reproduces with remarkable precision an engraving by Johann Jacob Frey (1681–1752), based on an original composition by Carlo Cignani (1628–1719). The artist takes the trompe-l’œil effect to the extreme by simulating cracks in the glass that supposedly protects the engraving, creating a sophisticated illusion in which painting, print, and real object seem to merge. The composition reproduces the scene engraved by Frey, accompanied by the Latin inscription “QUOMODO POSSUM HOC MALUM FACERE, ET PECCARE IN DEUM MEUM?”, which translates to “How could I commit such an evil and sin against my God?” This caption, which is part of the original image, introduces a narrative and moral dimension to the composition. Vispré also reproduces his signature, “Vispré diviorie,” integrating it into the whole and reinforcing the appearance of an authentic print. This type of trompe-l’œil constitutes one of the most distinctive aspects of the artist’s oeuvre. Other well-known examples include *Trompe-l’œil with Broken Glass*, auctioned at Boisgirard (Paris, June 4, 2003); *Portrait of Jean Thierry*, presented in Rouillac (June 1, 2003); and *Trompe-l’œil with an Engraving of the Portrait of Nicolas Coustou*, auctioned at Drouot (Paris, November 16, 2001). These works showcase his unique ability to reproduce prints and simulate the physical imperfections of paper and glass, transforming the pictorial surface into a true exercise in technical virtuosity. A French painter, printmaker, and miniaturist, also known as Saverino, François Xavier Vispré was born into a Huguenot family from Besançon and received his artistic training in Paris. He began his career by creating engraved portraits of the French royal family, based on compositions by Jean-Étienne Liotard and other contemporary artists. He later pursued an international career, working in Bristol, London, and Dublin. In London, he regularly participated in the Society of Artists’ exhibitions between 1760 and 1783 and exhibited works at the Royal Academy in 1780, 1788, and 1789. His work is represented in major public collections, including the British Museum and the Victoria and Albert Museum in London, as well as the Ashmolean Museum in Oxford.