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Jérôme Piroué (Genève, 14/6/2005)
Vente aux enchères sur ebay se terminant le 22 juin 2005:
« This is an antique engraving by James Pradier (1790-1852) from an oil painting by François Gérard (1770-1837) representing the famous Italian sculptor Antonio Canova (1757 - 1822).
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Baron François Pascal Simon Gérard was a French portrait and historical painter, born in Rome. In Paris, after brief study under Pajou and others, he became a favorite pupil of J. L. David, who influenced such works as Psyche Receiving the Kiss of Cupid and Daphnis and Chloë, both in the Louvre. As a leading portraitist, Gérard was patronized by the court during the Empire and the Bourbon restoration. His portrait of Mme Récamier, of this period, is in the Louvre. Louis XVIII appointed him court painter in 1814 [sic]. Many examples of his historical paintings are in the Versailles Museum. His portrait of the Countess Regnault de Saint-Jean-d'Angély (1798; Louvre) exemplifies his style of studied elegance and meticulous finish.
James Pradier was born in Geneva to a family of watch makers, like his celebrated namesake Jean-Jacques Rousseau (1712-1778). He apprenticed as a watchcase engraver and then trained at Geneva's École de Dessin before joining his elder brother, engraver Charles-Simon Pradier, in Paris around 1807-1808. He entered the École des Beaux-Arts and worked with painter Baron Gérard, who remained a vital influence and ally. Pradier won the Grand Prix de Rome in 1813 and spent the next five years at the Villa Médicis in Rome. His successful career began immediately upon his return to Paris in 1819. [...]
Antonio Canova was a leading exponent of the neoclassical school whose influence on the art of his time was enormous. His monumental statues and bas-reliefs are executed with extreme grace, polish, and purity of contour. [...]
The print offered here thus represents three leading figures of 19th century Art!
Please note: in the Bénézit (a leading reference in Art), this engraving is attributed to James’ brother, Charles-Simon. It has to be said that I found no references to any engravings done by James. On the other hand, the signature on this piece confirms it was done by James, not Charles-Simon. [...] For those interested, the painting this was done from is in the Louvre in Paris, and can be seen on the Net (click here). Personally, I prefer the present interpretation of it: the expression seems gentler, as if the subject was frozen at a younger age. Very impressive all around!
This engraving is signed in pencil: « F. Gerard pinxit » and « J. Pradier sculp ».
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Size (art area): 16 cm X 19.5 cm. (6.30 inches X 7.70 inches). [...]
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Douglas Siler (17/6/2005)
Your engraving is very likely a work by the engraver Charles-Simon Pradier, the sculptor's brother, who was one of Gerard's favorite engravers. Another copy of it is kept with numerous other original engravings by him at the Bibliothèque nationale in Paris, Département des Estampes, série SNR, dossier Charles-Simon Pradier. The following information is inscribed on that copy: « F. Gerard pinxt C.S. Pradier Sculp. / CANOVA / École italienne / Doulos aîné, éditeur / Chardon aîné imp. » The inscription « J. Pradier sculp » added to your copy IN PENCIL is obviously an error. The sculptor produced no engravings of this type. I would also like to point out that, contrary to what is stated in your description, he was not born « to a family of watch makers ». His grandfather and subsequently his father owned and ran the Hôtel de l'Écu de France in Geneva (not to be confused with the more famous and more luxurious Hôtel de l'Écu). I would appreciate it if you could add this information to your listing.
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Jérôme Piroué (17/6/2005)
Thank you very much for your remarks. Most of my info, I COPIED from Answers.com (I think), and when I reread it, some minute things didn't make sense (Pradier is called Rousseau's "namesake"? What? I should have checked what that means, but it seems wrong!). So I was HOPING someone would correct me. The signature: after I put the page up, I started thinking that couldn't hold, it must be Charles-Simon, BUT the bio did mention that James trained as a watch engraver (so why not him as a part-time engraver too?) AND a recognized Geneva expert garanteed to me this print to be by James Pradier, not Charles, so... ? Please don't be offended: your arguments are very convincing and I truly apreciated your message, but... I'm lost! I want to know, too, who did this! Feel free to write again. And also: what do you think of the print? Isn't it great? I truly prefer it to the colour reproduction I saw.
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Douglas Siler (17/6/2005)
With regard to Pradier's first names, early in life he called himself « James » but he was christened Jean-Jacques, like Rousseau, and legend has it that his mother was an admirer of Rousseau. In fact he was probably named after the two witnesses who signed the register at his baptism a few days after his birth. One was named Jean and the other Jacques!
Pradier did do some engravings (or at least the drawings for them), very romantic in style, to illustrate the covers of a few Romances he composed (music and lyrics) in the 1820's and 30's. He also engraved a couple of his own sculptures but he is not known to have engraved paintings as did his brother Charles-Simon, who specialized in just that, i.e. engravings of famous paintings by Gérard, Ingres and others contemporary artists.
The Canova portrait is a fine example of Charles-Simon's meticulous work, and rare. Can you tell me where you found it? I haven't seen the colour reproduction.
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Douglas Siler (19/6/2005)
Merci d'avoir ajouté mes commentaires à votre annonce ebay. Vous pouvez m'écrire en français ou en anglais, je suis habitué aux deux.
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Jérôme Piroué (20/6/2005)
L'expert qui a reconnu ma gravure comme une « James P. », c'est l'ancien conservateur du Cabinet des Estampes. Il devait me le confirmer avec une référence exacte. On ne se demande même pas pourquoi il ne l'a pas fait! lol... J'ai acheté cette gravure chez un Antiquaire genevois.
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Douglas Siler (21/6/2005)
Je me demande si l'ancien conservateur que vous avez consulté n'a pas simplement reconnu la « signature » plutôt que la gravure. De là à conclure que celle-ci était de James, il n'y avait qu'un pas, car on ignore absolument Charles-Simon, même à Genève.
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