Jean-François Janinet 1752-1814

The actual print is a bit warmer in tone than the catalogue illustration suggests. The print is overall in very good condition. The paper is slightly discoloured and the colours are slightly yellowed. A brownish stain of circa 4 cm is visible to the centre right as well as some foxing along the edges.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Although Janinet initially followed his master Louis-Marin Bonnet (1736-1793) in the crayon and pastel manner printmaking, he became famous for his perfection of the process of colour printing. With a series of plates with different coloured inks he achieved to capture the tonal effects of brush-and-ink washes, watercolours or gouaches in printed form.
This print is a fine example of such, for the sitter is printed from four different plates with yellow, blue, red and black inks. The decorative frame is printed on a different sheet in blue, orange and gold inks from three different plates. Due to the production process of the gold frame, gilded impressions of this print are rare, either since its use of gold in the frame was forbidden at the time or because impressions of this kind were not a commercial success for the gold frame made the print too expensive for a wider public.