Nicolas De Launay & Sigmund Freudeberg

Nicolas De Launay and Sigmund Freudeberg - La Complaisance Maternelle or Maternal Compliance

La Complaisance Maternelle (Maternal Compliance)

Nicolas De Launay's original engraving, La Complaisance Maternelle (Maternal Compliance) is based upon a design created by the 18th century Swiss artist, Sigmund Freudeberg. This impression hails from the Noel Wisdom collection. It is printed on eighteenth century hand-made, laid paper as published around 1780. La Complaisance Maternelle is a fine, original example of the 18th century art created by the French artist, Nicolas De Launay.

Original Engraving by the French artist, Nicolas De Launay designed by the Swiss artist, Sigumund Freudeberg.

La Complaisance Maternelle or Maternal Compliance Original Engraving by the French artist Nicolas De Launay designed by the Swiss artist Sigumund Freudeberg

La Complaisance Maternelle (Maternal Compliance)

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Title:	La Complaisance Maternelle (Maternal Compliance)
Engraver:	De Launay, Nicolas (Paris, 1739 - 1792)
Designer:	Freudeberg, Sigmund (Switzerland, 1745 - 1801)
Date:	c. 1780
Medium:	Original Line Engraving
Publisher:	Nicolas de Launay, Paris
Note:	Nicolas De Launay is the engraver par excellence of the 'estampe gallant'. Studying under Lempereur, he worked in both Le Havre and Paris. His engravings gave him admittance to the prestigious French Royal Academy in 1789 and he was also elected a member of the Royal Danish Academy. Most of the greatest engravings from this period originate from his hand and after 1780 many pupils came to study under him. Yet, none could equal the obvious talents of Nicolas De Launay.
	Nicolas De Launay was the master interpreter of Fragonard, Badouin, Lavreince, and Sigumund Freudeberg. The last word on De Launay and his art belongs to G. C. Williamson, "None drew better, none interpreted better, no one prepared his plates with greater care, nor worked them up with greater brilliance, nor finished them with greater harmony." *.
	Later 18th century art gave birth to a unique phenomenon the 'Estampe Gallant'. Based primarily upon the paintings of Fragonard, Moreau and others, engravings of astonishing detail and delicacy were created. The subject matter was even more noteworthy, being idealized and contemporary domestic scenes, depictions of motherhood, the nobility and their social appearances, images of romance and quite often, depictions of a quite risky nature. This was after all, the greatest period for intrigues at the court of Versailles and in French art idealized portrayals of women took on definite licentious characteristics. Hence, even in a scene of motherhood, such as in La Complaisance Maternelle, the primary character can't escape an element of voluptuousness. The lettering below the title reads; "A Madame Jeanne Marie Pupis - Tire de Cabinete de Monsieur Pupis - Par son tres humble et tres respectueux fils, pujos." and "A paris chez De Launay, rue de la Bucherie, le Porte Cochere pres la rue des Rats". In La Complaisance Maternelle, the artist depicts an interior scene where everything is in disarray and the poor young mother seems to be trying her best to care for her two children.
Provenance:	This original line engraving was formerly in the Noel Wisdom collection and bearing his signature on the verso of the engraving.
Reference:	G. C. Williamson, Brian's Dictionary of Painters and Engravers*, London, Bell & Sons, 1930, Vol. II, P. 45.
Raisonne:	Roger Portalis & Henri Beraldi, Les Graveurs du Dix-Huitieme Siecle, Morgand & Fatout, Paris, 1880, VoL., pp. 538 - 554. Catalogue # 19, Third and Final State.
	Archibarld Younger, French Engravers of the 18th Century, London, Simkin, Marshall, Hamilton Kent & Co., Illustrated on plates XXXV and XXXVI. Copies of the illustrations, are provided.
	French engravers regularly published a small number of 'proof' impressions before the regular edition. The only difference before the First State and Final, published state is the absence of the lettering in the lower margin.
	One should note that because the huge popularity of Nicolas De Launay's engravings, many of his plates were posthumously printed in the nineteenth century. These later impressions are easy to detect because they are printed on wove paper and all the fine lines and details within the image have lost their clarity due to the wearing down of the plate. This is not the case with this impression of La Complaisance Maternelle, which bears the fine unbroken lines of a printing published during Nicolas De Launay's lifetime.
	The Huntarian Museum & Art Gallery includes an impression of La Complaisance Maternelle in its collection, Number GLAHA 3840 and The British Museum also includes an impression of this original engraving in its permanent collection, Registration Number 1958,0712.1228.
Size:	14 1/8 X 10 1/8 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Framed and Matted with 100% Archival Materials
Condition:	Printed on eighteenth century hand-made, laid paper and with margins trimmed to the plate-mark, as usual. Several very slight tears and rub marks exist in the outer margins but do not enter the image. It is a beautifully printed and early impression and in fine condition throughout. This original impression of La Complaisance Maternelle (Maternal Compliance) stands as a striking example of the 18th century art of Nicolas De Launay.
Price:	Sold - The price is no longer available.
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