Jacques DUMONT LE ROMAIN
(Paris 1701 - Paris 1781)
Design for a Trophy: La Marine
All four corners of the sheet cut.
328 x 122 mm. (12 7/8 x 4 3/4 in.)
As Peter Fuhring has noted of these designs for trophies, ‘Dumont le Romain adopted the thematic choices of Renaissance engravers such as Enea Vico, who were influenced by the rediscovery of the trophies of Antiquity. He successively represented motifs taken from the fine arts, music, the religious domain, Roman antiquity, navigation, Ottoman art, arms and armour – thus proposing a great variety of models which became very fashionable at that time.’
Four other preparatory drawings by Dumont le Romain for this set of engravings are known, all in red chalk and closely comparable to this pair of drawings. A red chalk design for a trophy of musical instruments, signed and dated 1736, is in the Ecole des Beaux-Arts in Paris, while another similar drawing of a trophy with attributes of the arts, also signed and dated 1736, is in the Kunstbibliothek in Berlin. Two further drawings of trophies by Dumont for the Livre de nouveaux trophées, formerly in the Beurdeley collection, are today in the Hermitage in Saint Petersburg.
This drawing is very likely to have originally been signed and dated by the artist in red chalk at the lower left and right corners, as is found in the related drawings in Paris and Berlin, but these would have been lost when the corners of the sheets were cut.
This drawing by Dumont le Romain may once have been part of the extensive collection of the designer Edward C. Moore (1827-1891), who worked as the head silversmith at Tiffany and Company during the latter half of the 19th century. Moore assembled a large study collection of several thousand objects, predominantly of Islamic art, and some five hundred books. Much of the collection was left to the Metropolitan Museum of Art in New York after Moore’s death in 1891.
His(?) sale, Neuilly-sur-Seine, Hôtel des Ventes, 12 December 2005, part of lot 17
W. M. Brady and Co., New York