After Monsiau, Nicolas-André by Vieth-Varenne. The "Triumph" of Aemilius Paulus."Triomphe de Paul Emile" (2eme P.tie) Paris impremier par Jaques Prudhome c1820
Panoramic lithograph showing part of the Roman triumph of Aemilius Paulus after the painting byNicolas-André Monsiau, exhibited in Paris 1789. Modern hand colour The image shows part of the Roman "Triumph " accorded to Aemilius Paulus after his victory over Perseus at Pydna and the conquest of Macedonia and the ending of the third Macedonian War
The Third Macedonian War broke out in 171 BC, when king Perseus of Macedon defeated a Roman army led by the consul Publius Licinius Crassus in the battle of Callinicus. After two years of results indecisive for either side, Paullus was elected consul again in 168 BC (with Gaius Licinius Crassus as colleague). As consul, he was appointed by the senate to deal with the Macedonian war. Shortly afterwards, on June 22, he won the decisive battle of Pydna. Perseus of Macedonia was made prisoner and the Third Macedonian War ended. To set an example, Paullus ordered the killing of 500 prominent Macedonians known for their opposition to Rome. He also exiled many more to Italy and confiscated their belongings in the name of Rome but, according to Plutarch, kept too much to himself. Other sources report that he kept for himself only the extensive royal library, in which act he set an example for later Roman generals, such as Lucullus. On setting out on the return to Rome in 167 BC, his legions were displeased with their share of the plunder. To keep them happy, Paullus decided on a stop in Epirus, a kingdom suspected of sympathizing with the Macedonian cause. The region had been already pacified, but Paullus ordered the sacking of seventy of its towns. 150,000 people were enslaved and the region was left to bankruptcy. Paullus' return to Rome was glorious. With the immense plunder collected in Macedonia and Epirus, he celebrated a spectacular triumph, featuring no less than the captured king of Macedonia himself, and his sons, putting an end to the dynasty. As a gesture of acknowledgment, the senate awarded him the surname (cognomen) Macedonicus. This was the peak of his career. In 164 BC he was elected censor. He fell ill, appeared to be recovering, but relapsed within three days and died during his term of office in 160 BC. Bright and clean; modern hand colour; lower right corner torn off and repaired with different paper.
328 by 703mm (13 by 27¾ inches). €160
After Nicolas Poussin by Francis Legat. The Continence of Scipio "The Continence of Scipio." London. John Boydell. 1784
Black & white copper engraving of The Continence of Scipio, from John Boydell's Houghton Gallery.[a set of 162 prints reproducing paintings from the collection of Sir Robert Walpole at Houghton]. Proof before title; coat of arms, "Nichs. Poussin, pinxit./ J. Boydell excudit 1784/ Francis Legat Sculpsit./ In the Gallery [coat of arms] at Houghton./ Publish'd Jany. 1st1 1784, by John Boydell Engraver, in Cheapside London." The image shows Scipio, on the far left, seated on a throne and being crowned with ivy, his left hand reaching out to Allucius, who bows before him; between the two stands a young woman, two soldiers on the right, stone tower in the background.
Scipio Africanus; Publius Cornelius Scipio Africanus Major (236 BC - c.184 B)was a Roman general whose tactics concluded the second Punic War by defeating the Carthaginians in 206 and Hannibal in Africa in 202. Many legends accumulated around him, many derived from stories of Alexander the Great. Dark impression; light toning; proof before title; margins trimmed to plate mark; creasing at lower edge in publishers imprint.
British Museum no:1982,U.1714.; Rubinstein II.52. 480 by 600mm (19 by 23½ inches). €450
Jean Massard after Jaques Stella. Cloelia and her Companions. "Clélie et ses Compagnes." .: 'Peint par Stella - dessiné par Odevacre [sic] - Gravé par Massard père', Paris Robillard-Péronville and Laurent c.1803/1809
Black and white copper engraving by Pere Massard after From an original painting in the Musée du Louvre, by Jacques Stella of "Clélie et ses Compagnes." Part of 'Musée Français, recueil complet des tableaux, statues et bas-reliefs qui composent la collection nationale, avec l'explication des sujets et des discours historiques sur la peinture, la sculpture et la gravure' The image shows Cloelia attempting to cross the Tiber with other maiden,a young woman riding a horse and helping another woman to get on behind her; other women waiting on the river bank. Etching and engraving According to Plutarch Cloelia was given hostage to the Etruscan king Porsenna, but freed by him in admiration of her bravery after attempting to escape by swimming across the Tiber.
British Museuem no:859,0806.447. 510 by 325mm (20 by 12¾ inches). €280
"The Battles of Alexander the Great" by Charles Le Brun.
Le Brun, Charles; Sheppard, Robert & Smith, Robert. The Battles of Alexander the Great. " Virtue Surmounts all Difficulties"; "Virtue Fit to Govern the World"; "He's Truly Brave that Overcomes Himself";: " Thus Heroes Exalt themselves by Virtue":" True Valour is Always Invincible";" Valour is Priz'd tho Vanquished". London. 'Printed for & sold by Carington Bowles at his Map & Print Warehouse No.69 St Pauls Church Yard London',? No Date but probably c1770s
Series of 6 large copper engravings of the Battles of Alexander the Great; first English edition, by Robert Sheppard & Robert Smith, after Charles Le Brun. Titles in English, Latin & French, versos blank. An extremely scarce set of the first English publication of these monumental illustrations of Charles Le Brun's Battles of Alexander.The original paintings were commissioned by Louis XIV for Versailles. They alluded to the Grandeur of Louis by comparing him to the Great Alexander. Indeed it is suggested that the portrait of Alexander in plate 4 is in fact of Louis. The painting first completed showing Alexander and the Family of Darius, "He's Truly Brave that Overcomes Himself" so delighted Louis XIV that he at once ennobled Le Brun who was also created Premier Peintre du Roi (First Painter of the King) with a pension of 12,000 livres.
English Titles: Plate 1; " Virtue Surmounts all Difficulties" Alexander, having pass'd Granicus with unequal Forces, attacks the Persians & Putts their numerous Army to Rout. C le Brun Pinxit R Sheppard Sculpt. [ Battle of Granicus].
Plate 2: "Virtue Fit to Govern the World" Alexander, after many Victories gain'd by his Valour ,defeats Darius at Arbela, and having by that Battle putt a Period to the Persain Empire,He Conquers the East. C le Brun Pinxit No engraver mentioned [Battle of Arbela].
Plate 3: "He's Truly Brave that Overcomes Himself" Alexander, having overthrown the Persians, near the city of Issus, enters the Royal Tent of the family of Darius & there gives a singular Proof of Clemency & Continence. C le Brun Pinxit. R Sheppard Sculpt. [ The Tent of Darius].
Plate 4: " Thus Heroes Exalt themselves by Virtue" Alexander enters Babylon in Triumph amidst the shouts & Acclaimation of the people. C le Brun Pinxit No engraver mentioned [Entry in Babylon}
Plate 5:" True Valour is Always Invincible" Porus, being forsaken by his own people, with great Courage sustains the attacks of his Enemies, wounded several by them & slew Taxiles Brother. After which being grievous bruised & Wounded fell from off his Elophant. C le Brun Pinxit Robt. Smith Sculpt [Defeat of Porus].
Plate 6:" Valour is Priz'd tho Vanquished" Alexander, admiring the greatness of soul of King Porus whom he had defeated & made Prisoner,Not only pities him , but [ as an honorable mark of his Esteem] admits him into the Number of his Friends & gives him a kingdom greater than that which he had lost. C le Brun Pinxit. R Sheppard Sculpt. [Mercy To Porus]
Our set lacks the publishers imprint at lower left, but most likely published by Carrington Bowles; the British Museum have one of the plates with imprint of Carrington Bowles Dark impressions; each image consists of 2 copper plates joined; lower margins trimmed at left to plate mark thus removing publishers details [possibly they were bound at some time]; some light creases and minor chipping to edges not unsurprising in such large plates. Plate 1: 570 x 1010 mm; trimmed into plate mark at left lower blank margin by 10 mm, just below text; hole with old repair to verso in left blank margin and a few small holes far from image; small hole to image, upper left. Plate 2: 569 x 960 mm; trimmed into plate mark at left lower blank margin by 10 mm, just shaving text. Plate 3; 574 x 995 mm; trimmed into plate mark at left lower blank margin by 10 mm, just below text; 4 small holes to left blank margin, far from image. Plate 4: 590 x 955 mm; trimmed into plate mark at left lower blank margin by 10 mm, just below text; 4 small holes to left blank margin, far from image. Plate 5: 560 x 995 mm; trimmed into plate mark at left lower blank margin by 5 mm, just below text; 4 small holes to left blank margin, far from image. Plate 6: 565 x 1000mm; trimmed to platemark at lower margin; small hole ,repaired to verso and 2 tiny holes to left blank margin.
Catholic Encyclopedia (1913), Volume 9:Charles Lebrun by George Charles Williamson. 590 by 1010mm (23¼ by 39¾ inches). largest. €12000