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Sale: Friday 29 January 2021
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Lot n° 1 - OMBRIENNE School circa 1380 The<br>Virgin and Child, between</br>Saint Peter and Saint Catherine on a gold background (reverse side of painted panels). Three panels forming a triptych. Ancient restorations. 42 x 24 cm<br>On the gold background engraved with acanthus motifs of the central panel of this triptych intended for intimate devotion, the Virgin holding the blessing Child sits on a cushion resting on an architectural seat without a backrest. The shutters hold the full-length images of Saint Peter on the left and Saint Catherine on the right, identified by their respective attributes: the keys for Peter and the wheel of torment for Catherine. The central image is presented under a three-lobed arcade in relief, resting on each side on a partly deteriorated column. This partition delimits in the pinnacle the place of a medallion that was originally intended to hold an image of Christ blessing, which</br> has now disappeared.<br>Another medallion, which was probably intended to show a Christ at the tomb, also disappeared, adorns the base in the centre of a gilded cartouche</br>worked in relief.<br><br>Despite the insults of time, the work has kept all its original elements. Its general structure and the fine "a pastiglia" technique of the mouldings are reminiscent of the gilded delicacy of small Sienese devotional paintings such as those by Luca di Tommé around 1360 (Los Angeles, County Museum no. 57.68 or Corsi Collection cf. L'Art gothique siennois, Avignon, June-October 1983, no. 91, repr).</br></br>The<br><br>Siennese influence is also felt in the undulating line of the mantle of St. Peter and in the elegant posture of</br></br>St. Catherine.<br><br><br>But the gold background engraved with acanthus betrays an Umbrian origin. The execution of our still anonymous triptych will be placed in this atmosphere, probably in Orvieto, where the great master Ugolino di Prete Ilario (known from 1357 to 1384), author of frescoes in the Duomo, and his pupil Cola Petrucci

OMBRIENNE School circa 1380 The Virgin and Child, between Saint Peter and Saint Catherine on a gold background (reverse side of painted panels). Three panels forming a triptych. An…
Estimate — 12 000 - 15 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 3 - MASTER OF RONCAIETTE (known in Padua, around 1420)Virgin of humility with the Child JesusGolden ground, poplar panel, one plank, not parquet flooring.<br>Several small lacks on the halo</br>and the<br>mantle</br>, uprisings, old restorations. 49 x 36 cm<br>We are here in the presence of an image of the Virgin known as "of Humility" sitting on the ground in a closed garden, at once symbol of modesty, servitude and virginity of the Mother of Christ. This theme advocated by St. Bernard of Clairvaux saw one of his very first representations on the pediment of the church of Notre-Dame-des-Doms frescoed by the Sienese artist Simone Martini around 1340, and spread rapidly in Italy and then spread to the painting of the whole of Europe. In medieval cities, various strata of the population, wealthy landowners, merchants, artists, craftsmen and religious companies often chose this theme to render their devotions to the Virgin in the intimacy of</br> their chapels or private oratories.<br>This is the case of this little Madonna, intended for the domestic use of a private individual and which is part of a late Gothic production of this type of object at a time when the pictorial movement of the "international Gothic" flourished in Italy. Whether illustrating religious or courtly themes, the artists used a fluid style, led by a moving line enveloping the supple bodies of the characters in undulating drapes enhanced with shimmering colour and the gleaming effects of gold. The Virgin and the saints are no longer unattainable hieratic idols but divine beings close to humans. This Madonna holding the Child in her arms sits on the ground in a garden and stands out against a background of gold iridescent with rays engraved to glorify her; she is dressed in a carmine red robe covered with a broad dark blue mantle adorned with golden ornamental motifs enveloping her body in multiple meanders. The child wears a simple white tunic and a vermilion red mantle and holds a pomegranate in his

MASTER OF RONCAIETTE (known in Padua, around 1420)Virgin of humility with the Child JesusGolden ground, poplar panel, one plank, not parquet flooring. Several small lacks on the ha…
Estimate — 5 000 - 8 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 8 - Giuseppe VERMIGLIO (1585 - 1635<br>)The Mystical Marriage of St. Catherine</br>between St. Agatha and St. John the BaptistCloth. Ancient restorations. 170 x 196 cm<br>Our large canvas resumes the organization of the "sacra conversazione" (sacred conversations), that is to say the meeting of holy characters around the Virgin and Child. As recommended by the Counter-Reformation, the iconography is easy to decipher and each saint is identifiable by his traditional iconographic symbol. To the right, John the Baptist bows and holds a cross with a phylactery bearing the inscription Ecce (Agnus) Dei. In fact, he was the first to recognize Jesus as the Lamb of God, the paschal lamb that will be sacrificed to free from sin, hence the presence of this animal at his feet. At the centre, the mystical marriage of Saint Catherine of Alexandria was a very popular topic among communities of nuns since the 15th century. Our painting could have been commissioned for a convent of women. Of noble origin, Catherine is crowned and dressed in a rich brocade; she is kneeling, receiving the ring on her finger. A fragment of the wheel, the instrument of her torment, is placed at her feet. Mary, dressed in a pink robe and a blue mantle, is sitting on a mound, carrying Christ the Child on her knees. On the left, leaning against a balustrade and in front of a column, Saint Agatha of Catania is holding a palm and a cup with her breasts</br>, testimony to her martyrdom.<br>Of Piedmontese origin, Vermiglio is mentioned in Rome as early as 1604 in the studio of a Perugian painter, Adriano Monteleone, and lived in this city until 1619. He immersed himself in Caravaggio's lesson, both in his painting and in his bad-boy lifestyle: in 1605 he was arrested for carrying an illegal weapon, in 1606 he took part in a brawl, in 1611 he was arrested again for fighting. The altarpiece of the Incredulity of Saint Thomas of 1612 (Rome, Saint Thomas dei Cenci) and several versions of Isaac's Sacrifice are inspire

Giuseppe VERMIGLIO (1585 1635 )The Mystical Marriage of St. Catherine between St. Agatha and St. John the BaptistCloth. Ancient restorations. 170 x 196 cm Our large canvas resumes …
Estimate — 150 000 - 250 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 11 - Battista GAULLI dit il Bacciccio (1639 - 1709)Saint Anthony Abbot in prayerToile. Ancient<br>restorations</br>, small dents, uprisings. 98 x 73 cmProvenance : <br>Acquired in 1860 in Paris</br>by M. Sylvestre Savy. Since then it has <br><br>remained</br></br>in the family.<br>We can compare this unpublished painting with several other saints and apostles of the artist, where we find the same graphic writing in the cottony beard or hands: Crucifixion with St. Anthony of Padua and St. Anthony Abbot preserved in the church of Santa Maria della Cima in Genzano di Roma (Francesco Petrucci, Baciccio, Ugo Bozzi Editore, 2009, p. 293, fig. 366 and p. 526, C8); Saint Thomas in private collection (Petrucci, op. cit, p. 312, fig. 383 and p. 571, D14); Apostle's Head formerly in the Zabert Gallery in Turin (Petrucci, op. cit., p. 312, fig. 385 and p. 572, D16), Saint Andrew in the Palazzo Chigi in Ariccia (Petrucci, op. cit., p. 313, fig. 386 and p.</br> 590, D37).<br>We thank Professor Francesco Petrucci for confirming the attribution of this painting to Gaulli by e-mail and digital photo on June 7</br>, 2020.<br><br>This author insists on Gaulli's reinterpretation of Guido Reni's prototype figures of saints through Bernini's baroque sculptural plasticity, and dates them around 1680 (catalogue of the exhibition "Il Museo del Barocco Romano La Collezioni Ferrari, Laschena ed altre donazioni a Palazzo Chigi in Araccia", Arricia, 2008, p. 68). That is to say, at the time when the artist frescoed the immense vault of the Gesù, the mother church of the Society of Jesus, a key work in the evolution of Roman Baroque.</br></br>

Battista GAULLI dit il Bacciccio (1639 1709)Saint Anthony Abbot in prayerToile. Ancient restorations , small dents, uprisings. 98 x 73 cmProvenance : Acquired in 1860 in Paris by M…
Estimate — 15 000 - 20 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 12 - Luca GIORDANO (Naples, 1632 - 1705)Cain and AbelToile. Signed lower right: JORDANUS/F. Ancient restorations. 194 x 145 cm<br>We propose to date this painting to the 1660s, when Luca Giordano incorporated more baroque elements, taken from Pierre de Cortone (e.g. the angel in the upper left corner) into the Riberesque naturalism present in his earlier works. The composition, all in movement, exacerbates the magnitude of the drama at play (Genesis 4. 1-15). The donkey's jaw which Cain used to knock Abel out is highlighted by its central position, reminiscent of an iconography initiated by Filippo</br> Vitale (private collection).<br>During his stays in Venice, the first of which took place around 1653, Luca Giordano saw Titian's painting on the same theme, preserved on the ceiling of the sacristy of the Basilica of Santa Maria della Salute, where Abel is violently projected onto the floor. Here, his lifeless body, in a diagonal line, brings the viewer into the composition and recalls the foreground of "Saint January interceding for the cessation of the plague of 1656", painted in 1660 (Naples, Capodimonte Museum) 1, a sort of meditation on</br>the tragic<br>aspect of</br>the human condition.<br>Another version of this subject, with a different composition and length, is currently</br>on sale in the art trade.2<br>A painting on this subject is cited in the inventory by Alessandro Savorgnan, painted on 7 August 1699: "Abele morto con un angelo, h 13 quarte, ca., di Luca Giordano" 3. The height of 13 quarte, about 208 cm, could correspond to the height of our painting with its original frame. The authors have often noted that some of Giordano's paintings anticipated nineteenth-century French realist painting, comparing Le bon Samaritain (Rouen, Musée des beaux-arts) with that of Théodule Ribot (Paris, Musée d'Orsay). Our composition, for its part, seems to foreshadow La Justice et la Vengeance divine poursuivant le Crime de Prud'hon (Louvre), which is a secularization

Luca GIORDANO (Naples, 1632 1705)Cain and AbelToile. Signed lower right: JORDANUS/F. Ancient restorations. 194 x 145 cm We propose to date this painting to the 1660s, when Luca Gio…
Estimate — 40 000 - 60 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 21 - Jacques STELLA (Lyon, 1596 - Paris, 1657<br>)L'</br>entraînement de l'AmourToile. Ancient<br>restorations</br>. 35 x 44 cm<br>We thank Mr. Sylvain Kesrpern for having examined this painting in person and for having given us the following details by e-mail on July 9, 2020: "Helping his son Cupid in the archery exercise, Venus raises his arm so that he can reach the leaf hanging from a dead tree, on which a heart is drawn. The subject is part of the iconography of the Scherzi or the Scuola d'amore, illustrated in particular by Odoardo Fialetti in Venice (1617) and by Pierre Scalberge in Paris (1638), dealing with the education of Love. Jacques Stella addressed the theme in a painting representing Venus, Vulcan and Love (private collection) signed and dated - 164., the last number being difficult to interpret, in a different format. The pose of the goddess, strictly parallel to the plane of the image, is close in our painting. The finer and more severe profile as well as the type of the child, to be compared, for example, with those of the Judgement of Paris by Harford (1650), is later. As for the landscape, it evokes, through its combination of dense groves and isolated frail trees punctuating the composition, Stella's own taste, which can be seen, lastly, in the Landscape of the Ploughman, a gouache dated 1655 (Ottawa, Museum of Fine Arts) and his Pastorales, known through paintings and drawings and, for the most part, through the engravings of his niece Claudine Bouzonnet</br> Stella.<br>We know of another version of our composition in height, a probable copy associated, as a counterpart, with a Venus offering a fruit to Cupid, in which the goddess is not dressed in the white tunic, as in Venus, Vulcan and Love, for that matter. The draping, very much in the spirit of Stella for the blue cloak, is less consistent for the white, which could therefore be a repaint of modesty. A third subject showing Cupid carving his bow under the guidance of his mother, known by a p

Jacques STELLA (Lyon, 1596 Paris, 1657 )L' entraînement de l'AmourToile. Ancient restorations . 35 x 44 cm We thank Mr. Sylvain Kesrpern for having examined this painting in person…
Estimate — 8 000 - 10 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 22 - Attributed to Pierre BREBIETTE (ca. 1598 - 1650<br>)Holy Family and St. John the Baptist</br>, surrounded by angels carrying the canvas cross. Ancient restorations. 65 x 81 cmProvenance: <br>Anonymous sale in Paris, Hôtel Drouot, December 12, 2005</br>(Tajan), n° 107. <br> This work is the other version of a painting kept in a Swiss private collection (exhibition catalogue: Seule la peinture... Pierre Brebiette (1598 ?-1642), Orléans, Musée des Beaux-Arts, 2001-2002, p. 91, No. 80, repr. p. 1), which is smaller (canvas, 50.5 x 61 cm) and has some variations (two sunflowers on the left, different sky, darker colour range, more</br> basic<br>landscape</br> ).<br><br>Other works by Brebiette related to this</br></br> composition are<br><br>known</br></br>:<br><br> <br>- An etching bearing the excudit of Quesnel and dated 1636 in which Saint Joseph is absent but in which a lamb is depicted and the landscape is more</br></br></br><br><br> <br></br></br></br> complex.<br><br> <br> <br>- A drawing - in reverse - in sanguine in a private collection (13 x 17.5 cm, Piguet sale in Geneva, 26 September 2018), preparatory to the engraving, a high copperplate painting (copper, 39 x 26 cm, sale in Bayeux, 14 July 2004).</br></br></br></br><br><br> <br> <br></br></br></br></br><br><br> <br> <br></br></br></br></br><br><br> <br> <br></br></br></br></br><br><br> <br> <br></br></br></br></br><br><br> <br> <br></br></br></br></br>

Attributed to Pierre BREBIETTE (ca. 1598 1650 )Holy Family and St. John the Baptist , surrounded by angels carrying the canvas cross. Ancient restorations. 65 x 81 cmProvenance: An…
Estimate — 3 000 - 5 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 31 - Johann Heinrich SCHÖNFELD (1609 - 1683)Martyrdom sceneWeb. Old<br>restorations</br>. 71 x 96 cm<br>The style of this work is characteristic of the artist's Neapolitan period. We thank Professor Giuseppe Porzio for suggesting that the Martyrdom of Saint Stephen from the Zeppelin Museum in Friedrichshafen, Germany (canvas, 70.5 x 94 cm) could be the counterpart of our</br> painting.<br> <br>After two years in Rome, Schönfeld moved to Naples in 1638, where his work took on new accents of great pictorial refinement. Under the influence of Aniello Falcone, Andrea di Leone, Salvator Rosa or Domenico Gargiulo, he will develop an intimate painting, with subtle shades of pink, brown, lilac, grey or white that stand out on the dark preparation. Moreover, in the rendering of the atmosphere, in the poetic motifs and in the delicacy of the details, he seems close to Cavallino, thirteen years his junior, without it being clear who was under the influence of the other. From this period, let us mention the Triumph of David (Karlsruhe Museum), the Victory of Joshua at Gabaon (Prague, Castle Gallery), or the Adoration of the Holy Trinity (Paris, Louvre Museum</br></br> ).<br> <br><br>The frieze composition develops on a dark background that highlights the silvery coldness of the atmosphere and the elegant touches of colour that awaken the whole. The subject, difficult to identify, is probably the martyrdom of Cyriacus of Jerusalem. Converted to Christianity after witnessing the resurrection of a man who died in contact with the True Cross, Cyriac refused to sacrifice to the pagan gods, and was imprisoned and tortured under the order of Emperor Julian the Apostate in 363. After having his hand cut off, he was condemned to swallow molten lead.</br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <br><br></br></br></br><br> <

Johann Heinrich SCHÖNFELD (1609 1683)Martyrdom sceneWeb. Old restorations . 71 x 96 cm The style of this work is characteristic of the artist's Neapolitan period. We thank Professo…
Estimate — 8 000 - 12 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 36 - Hyacinthe RIGAUD (Perpignan 1659 - Paris 1743)<br />Portrait d'un abbé<br />Toile ovale<br />72 x 57 cm<br />Restaurations anciennes<br /><br />Inscription sur le châssis en haut à gauche : Largillière ; sur un papier à en-tête du 12 place Vendôme collé aux quatre coins sur le châssis, la signature manuscrite : Jules Féral ; sur un autre papier fixé au châssis, la transcription tapuscrite d'une lettre : 12, place Vendôme // OPE 70 06 // 24 février 1937 ( ?) // Monsieur, Le tableau que vous avez // acquis à la vente du 4 février ( ?) est une // excellente peinture du premier quart du // XVIIIème siècle. // Il appartient certainement, à mon // avis, à l'école de Hyacinthe RIGAUD et son // attribution à ce maître résulte de l'examen // que nous avons pu en faire en le catalo-//guant. // L'inscription du nom de LARGILLIERE // que vous avez relevé sur le châssis ne méri-//te pas d'être retenue. La peinture a été // évidemment réentoilée. // Veuillez agréer, Monsieur, l'assurance // de mes sentiments très distingués. // Signature : illisible // M ? le xxxxxxx // Cabinet du général GEORGES ; // 4bis boulevard des Invalides Vers 1690-1695<br /><br />Provenance:<br />Vente Paris, 4 février ( ?) 1937 ( ?) ; acquis à cette vente par un membre du Cabinet du général Alphonse Joseph Georges (1875-1951) ; expertisé comme de l'école de Hyacinthe Rigaud par Jules Eugène Féral (1874-1944).<br /><br />Bibliographie :<br />Ariane James-Sarazin, « Un nouveau Rigaud de jeunesse ? », Hyacinthe Rigaud (1659-1743). L'homme et son art ? Le catalogue raisonné, Éditions Faton, [en ligne], mis en ligne le 27 octobre 2020, http://www.hyacinthe-rigaud.fr/single-post/2020/10/27/Un-nouveau-Rigaud-de-jeunesse<br /><br />Durant sa longue et fertile carrière, Hyacinthe Rigaud (1659-1743) put toujours compter sur les suffrages et la fidélité de la clientèle ecclésiastique. Avant de portraiturer les princes de l'Église, il s'acquit entre 1681,date

Hyacinthe RIGAUD (Perpignan 1659 Paris 1743) Portrait d'un abbé Toile ovale 72 x 57 cm Restaurations anciennes Inscription sur le châssis en haut à gauche : Largillière ; sur un pa…
Estimate — 8 000 - 12 000 €
Ader - Paris,
Friday 29 January - 14:00

Lot n° 43 - Fanny GEEFS (Brussels, 1807 - Schaerbeek, 1883)Portrait of Leopold I, King of the BelgiansPortrait of Louise-Marie, Queen of the BelgiansPair of original paintings. Old restorations and accidents.<br>One of the two (the queen), signed and dated</br>lower right: Fanny Geefs / 1851.Ancient restorations and accident. 251 x 160 cm218 x 141 cmProvenance<br>(</br>according to the owner)<br><br>: Offered by H.M. King Leopold II to Lieutenant General Baron (Théophil<br>e</br></br></br>Théodore) Wahis; His collection;<br><br><br><br>By succession, 1921, collection of his son, Lieutenant General Baron Théo Wahis</br></br></br></br><br><br><br><br></br></br></br></br>, Brussels;<br><br><br><br><br>Acquired by his little nephew, the knight Philippe de Patoul, château de Champallement, in the</br></br></br></br></br><br><br><br><br><br></br></br></br></br></br>Nièvre. It should<br><br><br><br><br><br>be noted that Baron Théophile Théodore Wahis was Governor General of the Independent State of the Congo, then of the colony when the king decided to hand over sovereignty</br></br></br></br></br></br><br><br><br><br><br><br></br></br></br></br></br></br>to Belgium. The<br><br><br><br><br><br><br>portrait of the king is a reworking of the portrait by Franz Xaver Winterhalter kept in the</br></br></br></br></br></br></br><br><br><br><br><br><br><br></br></br></br></br></br></br></br>Belgian<br><br><br><br><br><br><br>Royal Collection</br></br></br></br></br></br></br><br><br><br><br><br><br><br></br></br></br></br></br></br></br>.<br><br><br><br><br><br><br><br>We know a version by our artist, Fanny Geefs, which is kept in the House of Representatives in Brussels.</br></br></br></br></br></br></br></br><br><br><br><br><br><br><br><br></br></br></br></br></br></br></br></br><br><br><br><br><br><br><br><br></br></br></br></br></br></br></br></br><br><br><br><br><br><br><br><br></br></br></br></br></br></br></br></br>

Fanny GEEFS (Brussels, 1807 Schaerbeek, 1883)Portrait of Leopold I, King of the BelgiansPortrait of Louise Marie, Queen of the BelgiansPair of original paintings. Old restorations …
Estimate — 20 000 - 30 000 €
Ader - Paris,
Friday 29 January - 14:00

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