Medici Print Titled the Boy in Red After Antique Oil Portrait Painting by Élisabeth Louise Vigée Le Brun of Joseph François Pierre De Sahuget D’amarzit D’espagnac (1776-1820)

ORIGINAL MEDICI PRINT Titled ' The Boy in Red ' After the original oil portrait painted in 1786 by French artist Madame Élisabeth Vigée-Lebrun. A SHORT HISTORY OF MEDICI The Medici Society Ltd was founded in 1908 by Philip Lee Warner and Eustace Gurney. The company's original aim was to bring artists' work to the appreciation of a wider public through technically cutting edge high-end colour reproductions, with subjects chosen for their artistic value, beauty or sentiment sold "for the lowest price commercially possible". The name Medici was chosen as a homage to the great Florentine family who did so much to encourage art in the Italian Renaissance. The profile of Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, was incorporated into the trade mark. ABOUT ARTIST Élisabeth Louise Vigée Le Brun, also known as Madame Lebrun or Madame Le Brun, was a prominent French portrait painter of the late eighteenth century. Born: 16 April 1755, Paris, France Died: 30 March 1842, Paris, France On view: National Museum of Women in the Arts, National Gallery of Art East Building, Liechtenstein Museum, Tokyo Fuji Art Museum, Philadelphia Museum of Art, Nelson-Atkins Museum of Art, More Periods: Rococo, Neoclassicism Spouse: Jean-Baptiste-Pierre Le Brun (m. 1776–1794) Movies: Le fabuleux destin de Elisabeth Vigée Le Brun Children: Jeanne Julie Louise ABOUT SITTER Joseph François Pierre de Sahuget d’Amarzit d’Espagnac (1776-1820) was the only son of Joseph-François-Pierre-Charles d’Espagnac (1750-1817), a sub-lieutenant of the King’s household troops. The sitter emigrated in 1791 and died in Italy in 1820. This portrait, which displays the bright colouring and monochrome background of Vigée Le Brun’s work in the 1780s, was listed by the artist among her portraits for 1786 in her autobiography. It was exhibited at the Paris Salon the following year. Like most of her portraits of individual children, it was closely modelled on her portraits of adults and did not explore her period's interest in the specific development of adolescents. Original decorative swept gilt frame under glass within a gilt oval freight and original seal. Main Label Verso: Titled: The Boy In Red No 1022 / French 19