- New
Adam and Eve at work
| Reference: | S47133 |
| Author | Etienne DELAUNE |
| Year: | 1550 ca. |
| Measures: | 103 x 80 mm |
- New
| Reference: | S47133 |
| Author | Etienne DELAUNE |
| Year: | 1550 ca. |
| Measures: | 103 x 80 mm |
Description
Adam and Eve forced to work for a living; the former stands at left and ploughs the earth with a stick while Eve reclines on the right
Engraving, circa 1550/60, lettered with quotation from the Bible (Genesis, 3): 'In sudore vultus tui vesceris pane...'..
Example of the first state, before the signature and letter: “Stephanus F.” and “Cum Pri. Regis” added at the bottom.
From a set of thirty-six plates illustrating the Genesis.
Etienne Delaune was a French goldsmith, medallist, draughtsman and engraver. He was recorded as a journeyman goldsmith in Paris in 1546 and was appointed to the royal mint in January 1552. He was, however, removed in June that year. A number of medals, including one of Henry II (Paris, Bib. N., Cab. Médailles), are attributed to him. He did not become an engraver until about 1557; his first dated prints, a series of 12 plates illustrating the Old Testament and two designs for hand mirrors, were made in 1561. He found his models in the work of such Italian artists of the Fontainebleau School as Rosso Fiorentino, Nicolò dell’Abate and especially Luca Penni, rather than in that of Francesco Primaticcio. The year 1569 seems to have marked the peak of Delaune’s Fontainebleau production, with about ten prints inspired by the Italian masters. As a Calvinist he left Paris at the time of the St Bartholomew’s Eve massacre on 24 August 1572 and took refuge in Strasbourg, a free city of the Holy Roman Empire. He stayed there for four months, then obtained commissions to make ‘portraits’ elsewhere, probably in Augsburg, where in 1576 he made two engravings depicting a goldsmith’s workshop. He was in Strasbourg again the following year and was still there in 1580, the date of his suite of 20 engravings of moral allegories based on drawings by his son Jean Delaune (c. 1580). His last dated engraving, a portrait of Ambroise Paré, dates from 1582.
A very good impression, printed on contemporary laid paper, with margins, a small worm hole at the top, otherwise good condition.
Bibliografia
Robert-Dumesnil 1835-71, Le Peintre-Graveur Français (IX.30.30).
Etienne DELAUNE (Parigi, 1519 circa; Parigi, 1583)
|
French goldsmith, medallist, draughtsman and engraver. He was recorded as a journeyman goldsmith in Paris in 1546 and was appointed to the royal mint in January 1552. He was, however, removed in June that year. A number of medals, including one of Henry II (Paris, Bib. N., Cab. Médailles), are attributed to him. He did not become an engraver until about 1557; his first dated prints, a series of 12 plates illustrating the Old Testament and two designs for hand mirrors, were made in 1561. He found his models in the work of such Italian artists of the FONTAINEBLEAU SCHOOL as Rosso Fiorentino, Nicolò dell’Abate and especially Luca Penni, rather than in that of Francesco Primaticcio. The year 1569 seems to have marked the peak of Delaune’s Fontainebleau production, with about ten prints inspired by the Italian masters. As a Calvinist he left Paris at the time of the St Bartholomew’s Eve massacre on 24 August 1572 and took refuge in Strasbourg, a free city of the Holy Roman Empire. He stayed there for four months, then obtained commissions to make ‘portraits’ elsewhere, probably in Augsburg, where in 1576 he made two engravings depicting a goldsmith’s workshop. He was in Strasbourg again the following year and was still there in 1580, the date of his suite of 20 engravings of moral allegories based on drawings by his son Jean Delaune (c. 1580). His last dated engraving, a portrait of Ambroise Paré, dates from 1582.
|
Etienne DELAUNE (Parigi, 1519 circa; Parigi, 1583)
|
French goldsmith, medallist, draughtsman and engraver. He was recorded as a journeyman goldsmith in Paris in 1546 and was appointed to the royal mint in January 1552. He was, however, removed in June that year. A number of medals, including one of Henry II (Paris, Bib. N., Cab. Médailles), are attributed to him. He did not become an engraver until about 1557; his first dated prints, a series of 12 plates illustrating the Old Testament and two designs for hand mirrors, were made in 1561. He found his models in the work of such Italian artists of the FONTAINEBLEAU SCHOOL as Rosso Fiorentino, Nicolò dell’Abate and especially Luca Penni, rather than in that of Francesco Primaticcio. The year 1569 seems to have marked the peak of Delaune’s Fontainebleau production, with about ten prints inspired by the Italian masters. As a Calvinist he left Paris at the time of the St Bartholomew’s Eve massacre on 24 August 1572 and took refuge in Strasbourg, a free city of the Holy Roman Empire. He stayed there for four months, then obtained commissions to make ‘portraits’ elsewhere, probably in Augsburg, where in 1576 he made two engravings depicting a goldsmith’s workshop. He was in Strasbourg again the following year and was still there in 1580, the date of his suite of 20 engravings of moral allegories based on drawings by his son Jean Delaune (c. 1580). His last dated engraving, a portrait of Ambroise Paré, dates from 1582.
|