signed and inscribed ‘P: Lyonet. I:U:D. imitation tres libre, et fort groffie.’ (in the plate)
engraving, à la poupée
22 x 18.9 cm (plate); 22.5 x 19 cm (sheet)
Second and final state (based on the cataloguing of the Rijksmuseum)
A fine impression, some scuffmarks around the right eye, there is some scattered foxing, but the sheet is otherwise in good condition

While there were many erudite and versatile artists active in The Netherlands in the 18th century, few could rival the wide range of occupations and activities in which Pieter Lyonet was engaged. While trained as an attorney, Lyonet was also an engraver, draughtsman, preacher, polyglot, naturalist, microscopist, translator, master of patents, codebreaker and entomologist. It was in the latter occupation, that Lyonet perhaps shone most. During his career he published several important works on insects and his Traité anatomique de la Chenille, qui ronge le bois de Saule (published in 1760), which described the anatomy of the goat-moth caterpillar, is generally considered one of the most beautifully works of its kind. At the beginning of his working life, however, Lyonet did produce a number of drawings, paintings, sculptures and prints not related to entomology or natural history at large. The variety of subjects and techniques that Lyonet worked in, once again, demonstrate the artist’s exceptionally inquisitive mind and capability of working with different materials. Lyonet made a small number of prints that were made as works of art in their own right. The present engraving is such a work and demonstrates Lyonet’s experimental approach; it appears to be the only known impression of this subject printed à la poupée. The copperplate still exists today and is now in the Rijksmuseum Boerhaave, Leiden [1] and a proof impression as well as another impression of the present state are in the Rijksmuseum, Amsterdam. [2] The print depicts the actress Adrienne Lecouvreur as ‘Cornelia’ in Pierre Corneille's 'La mort de Pompée', from 1643. Cornelia is shown here while holding the ash of her husband, Pompeus. Lyonet’s engraving copies a part of Pierre Imbert Drevet’s (1663-1738) engraving showing Cornelia in reverse at three quarter length [3] which in turn is after a pastel by Charles Antoine Coypel (1694-1752) which is in the Comédie-Française, Paris. [4]

[1] Inv. V26329.
[2] Inv. RP-P-OB-47.082 and RP-P-OB-47.081.
[3] See for an impression; Metropolitan Museum of Arts, New York inv. 1985.1086.2.
[4] Inv. I 0375.