Jean MAROT (Paris 1619 - 1679) Two architectural... - Lot 1 - Nicolas Nouvelet Commissaire-priseur

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Jean MAROT (Paris 1619 - 1679) Two architectural... - Lot 1 - Nicolas Nouvelet Commissaire-priseur
Jean MAROT (Paris 1619 - 1679) Two architectural drawings around 1670, perhaps as part of a project for the château de Richelieu, reused in 1693 by Jules Hardoin-Mansart: 1-Architectural drawing for an unidentified project Pen and brown ink, brown wash over black pencil lines 34,5 x 22,2 cm Annotation at the top of the drawing, in the hand of Jules Hardoin-Mansart: "Design of Mr. Marot architect of Paris this drawing to decorate the room on the 2 ends very good to follow as he says for the rest [...] let's change these 2 [...] here ". Insolate, (trace at the top of an old mount), small stains, crease at lower right, small restored misses and uneven edges (right and lower). 2-Architectural drawing for an unidentified project, with medallions and a full-length statue representing the Bourbon rulers in the antique style Pen and black ink, black wash 34,6 x 21 cm Insolate, small stains Annotations at the top, at the bottom, and on the back of the drawing, in the hand of J. Hardoin-Mansart: [recto] "Dessein de M. Marot architecte de Paris ce dessin icy pour faire la moitié et par conséquent les deux côtés de la grande salle est merveilleux et de tout ce livre icy les seuls à suivre car M. Davillers made the other plans wonderfully better with me but the interior is of the most beautiful [...] because in four statues [...] it is necessary a chimney on the medium of a side; on the other [...] on the large sideboard according to the plan of Mr. Davillers and on the two sides will be the statues and on top of icelles one can put the four busts; to make well is necessary to put the four figures of our four [verso] kings of Bourbon under their clear resemblance but under the devices of the four gods which are appropriate to them best 1) Henri 4 representing the father of the Bourbons: by Jupiter the father and the first of the gods, with lightning and the eagle 2) Louis 13: representing Neptune since he tamed the seas - the first of our kings - disarmed having beaten the English closed the sea of La Rochelle; with a trident and other paraphernalia of Neptune 3) Louis 14 representing the god Mars where the [...] Bourbons [...] most beautiful apparatus and trophy 4) Mr. the Dauphin representing with the time that I pray to be very long to come : Apollo god of the Sciences, Arts and War, as also [...] the picture on the chimney the king in large on horseback opposite [...] in triumph and all the heads on the doors must be in half relief under the figure of [...] answers [...] and under the head of the queens their wives. [in the margin] Meudon 1693." Provenance: Private collection, anonymous sale, Monte Carlo, Sotheby's, June 17, 1988, lots 454 and 455. Bibliography: Kristina Deutsch, Jean Marot, Un graveur d'architecture à l'époque de Louis XIV, Germany, De Gruyter, 2015, no. 1-3 "two drawings for a large room by Jean Marot," pp. 515-517, repr. Cardinal de Richelieu, the main minister, planned the realization of a vast palatial complex to echo the various royal projects for a "new Rome". It was in this context that Jacques Lemercier (who was responsible for the Sorbonne Chapel) was commissioned to develop the architectural program. Our two drawings seem to have a link with this project. Indeed, Marot modified Lemercier's plans, associating them in our drawings with inspirations from Pierre Lescot's Louvre. Also, these drawings are perhaps linked to a desire to resume the work of the Château de Richelieu. However, it is more likely that these works correspond to an ideal conceptual research. The two sheets come from a file that belonged to Jules Hardoin-Mansart, Louis XIV's first architect. Within this file were also eight drawings from Hardoin-Mansart's studio related to a project for a building "destined for Louvois". The architect's note confirms that he was in possession of a large number of drawings by Marot, from which he drew inspiration for this hypothetical project. (see opus quoted above K. Deutsch, Jean Marot. Un graveur d'architecture à l'époque de Louis XIV, p.515-517)
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