An eighteenth-century engraving of Marie-Josephe of Saxony, Dauphine of France, based on a portrait by Maurice Quentin de La Tour.

This engraving depicts Marie-Josephe of Saxony, the Dauphine of France, based on an original pastel by the French artist Maurice Quentin de La Tour. The composition follows the conventions of eighteenth-century court portraiture, presenting the subject within a trompe-l'oeil oval frame that rests upon a stone plinth. The plinth features a heraldic crest and an inscription identifying the sitter, a common device in formal portrait prints of the period.

Marie-Josephe is shown in a seated position, holding an open book. Her attire reflects the fashion of the French court, characterised by lace trimmings, ribbons, and a structured cap. The artist employs a variety of hatching and cross-hatching techniques to translate the soft, blended textures of La Tour's original pastel medium into the linear language of engraving. The light source is directed from the upper left, creating subtle modelling on the sitter's face and the folds of her garments.

Maurice Quentin de La Tour was a master of the pastel medium, known for his ability to capture the psychological presence of his sitters. While this print is a reproduction, it retains the clarity of his observation. The work provides a clear view of the formal presentation expected of royalty during the mid-eighteenth century. The inclusion of the coat of arms and the specific biographical details on the base serves to document the status and lineage of the Dauphine. This print is a fine example of the collaborative process between painters and engravers in the eighteenth century, where the printmaker sought to replicate the tonal qualities of the original work through precise line work. It remains a record of both the sitter's appearance and the technical capabilities of the printmakers who disseminated such images across Europe.