PIERRE-PAUL SEVIN | Study for a frontispiece for 'l'histoire des Médailles antiques et modernes'

Hinged to the mount at upper margin. An added strip of paper at the left margin. Light brown stainaing around the edges of the sheet. Few repaired tears, one running from the lower margin in the centre upwards, repair visible on the verso and one small tear at the right margin. Pen and ink and wash and white heightening have remained strong and vibrant.
"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."

Born in Tournon, Sevin spent time in Italy between 1666 and 1667.  Son of the painter, François Sevin, Pierre-Paul worked on numerous projects for the Jesuits, producing ceremonial compositions.  He also executed many drawings that were engraved for important publications of the 17^th century. The present drawing is a study for a frontispiece to a presumably unpublished book,  'L'Histoire des Médailles Antiques et Modernes’.  It was commonplace throughout the 17^th and 18^th centuries for frontispieces in books about medals to illustrate the parallel between the Roman Empire and the French Monarchy.  Another frontispiece design, possibly a variant for the same unpublished book, signed by Pierre-Paul Sevin, is in the Bibliothèque National de France.¹ Both compositions, structured in a similar manner, portray Rome through the inclusion of well-known monuments, for example the Coliseum, Trajan’s column and various obelisks, these emblems of The Eternal City filling the background of both drawings.  France is represented in both studies by the inclusion of a crowned seated female figure on her throne to the right of the composition and History is characterised by the female figure, to the left of the drawing, writing in a large book.

For two other stylistically comparable drawings by Sevin, see B. Brejon de Lavergnée, Dessins Français du XVIIe siècle, exhib. cat., Bibliothèque National de France, 2014, nos. 87 and 88

^1. T. Sarmant. 'Roma Triumphans Les Frontispieces des Livres de Médailles aux XVIIe et XVIIIe Siècles', in Bibliothèque de L’École des Chartes, Vol. 158, no 1, 2000, fig. 6