The Color Evolution
colored prints through six centuries
colored prints through six centuries
- Anonymous, God Appearing to Moses
- Wolgemut , Christ Heals a Man
- da Trento, The Philosopher
- Goltzius, St. John
- Gaultier, Les Vespres
- Denon, The Abbot Zani
- Janinet, Marie Antoinette
- Janinet, La Prière Interrompue
- Janinet, Venus en Reflexion
- Janinet, Venus Desarment l’Amour
- Janinet, Le Sommeil d’Ariane
- Pollard & Jukes, Vaux-Hall
- Caldwell, The Blue Passion Flower
- Stadler, The White Lily
- Sutherland, American Bog Plants
- Debucourt, La Course, No. 3
- Debucourt, Le Joueur de Cornemuse
- Raffaëlli, L'Actrice en Scène
- Mariani, Woman on a Forest Pathway
- Maurin, Nu de Dos au Miroir
- Aman-Jean, Jeune Fille à La Chevelure
- Auriol, Concours de Dessin du Journal
- Toulouse-Lautrec, Carnot Malade!
- Rivière, La Vague
- Vallotton, Crimes et Châtiments
- Bonnard, Place Clichy
- Ibels, Le Grappin & L'Affranchie
- Roussel, Paysage avec Maison
- Roussel, Amours Jouant
- Müller, Interno (Young Girl with Cat)
- Orlik, View of Mecheln
- DuGardier, Sur la Plage
- Devambez, Poster for Cendrillon
- Robbe, Sardinières au Port
- Beltrand, Le Laboureur
- Delcourt, La Modiste
- Webster , Campo Santa Margarita
- Oppenheimer, The Quartet
- Urushibara , Fruit in a Bowl
- Drewes, Rotterdam
7. Jean-François Janinet (1752-1814) after Jean-Baptiste Dagoty Marie Antoinette |
(click on image to print)
Marie Antoinette
Tool-work engraving, in colors, 1777, 410 x 320 mm., Portalis & Béraldi 132, trial proof. Provenance: Eldridge James (not in Lugt); Mrs. Arthur James (not in L.).
One of the great classic portraits of the eighteenth century in a superb impression. The portrait itself is in the completed state, printed in colors from four plates and laid down on the frame; the ornamental frame is in a trial proof state before the addition of the blue, but with the printed metallic gold, on thick laid paper with small margins; some old binding holes at the left edge, an associated repaired tear and a surface abrasion, barely
affecting the inked surface at the edge. Of great rarity in any state, the print was the crowning glory of several of the great past collections of French eighteenth-century color prints and lacking in many of them (the Halsey collection had only a copy and the Model collection an impression of the central portrait without the frame).