unbound volume; binding in 11/E/12 s. in plate "Beaubrun Pin. Nanteuil Sculp."; inscr. on plate b. c. "Elle est du sand des Roys, Cette Illustre Personne, / Qui fait voir sous ses pieds les Vices abattus: / Et lew pompeux eclat de leur riche Couronne, / Brille moins que l'esclat de ses rares vertues./ de Scudery"; inscr. in brown ink on supporting sheet b. c. "33. / Anne Marie D'Orleans / Duchesse de Nemours"; inscr. hand-written in brown ink on supporting sheet t. c. "No. 33. [underlined]" CRE NANTEUIL, Robert; (French; 1623-1678) AFTER BEAUBRUN, Charles; (French; 1604-1692) Part of William Hunter's original bequest, this is one of two volumes containing 216 engraved portraits by or after Robert Nanteuil. Head of the great school of 17th century French portrait engraving, his skill and reputation were unequalled. His sitters were distinguished figures of Louis XIV's court, mainly royalty, statesmen, military and church leaders.
Celebrated for its faithfulness to Nature and the simplicity of his designs , Nanteuil's work appealed equally to art lovers and to those fascinated by the achievements of 17th century France. Hunter's volumes are a rare surviving example of a comprehensive early 18th century collection of Nanteuil's work. Occasionally Nanteuil worked after other portraitists, here painter Charles Beaubrun.
Marie d'Orléans-Longueville was the daughter of Henri II d'Orleans and sister of the Prince de Conde. Following her whole family's involvement with the French civil war of the Fronde, she fled to Flanders and was considered a possible bride for the Duke of York and even for Charles II of England. She eventually married Henri II Duke of Nemours, a near invalid who died two years later. The print was commissioned for Madeleine de Scudery's novel 'Clelie, Histoire Romaine', dedicated to the sitter, and published in Paris in 1654. This is one of seven portraits of women in the volume, and Nanteuil engraved portraits of just eight women during his whole career.