Inventory

Attributed to Jacques de Bellange (ca. 1575-1616), ‘Mary Magdalen in Penance’, oil on panel, 39 x 29 cm. Published and illustrated by Christopher Duran Comer in his Internet catalogue ‘Paintings of Jacques Bellange’, 2013, no. 36. Attributed to Bellange in a 2020 article by Sylvain Kerspern as a work from about 1605 when Bellange studied engraving with Crispin de Passe in Cologne.

Jacques Stella (1596-1657), ‘Mary Magdalen in an Evening Landscape’, oil on canvas, 33 x 39 cm. Ex collection Richard L. Feigen Gallery, New York. Full attribution in an article by Sylvain Kerspern 2020.

Nicolas Chaperon (1612-1656), ‘Bacchanal’, oil on canvas, 133.5 x 144.5 cm. Attribution by Patrice Marandel and Dominique Jacquot.

Antonio Canova (1775-1825), ‘The Three Sister Arts, Sculpture, Painting and Architecture’, oil on canvas, 74.5 x 61 cm. Published and illustrated by Gian Lorenzo Mellini, ‘Canova, saggi di filologia e di ermeneutica’, 1991 and 1999, pages 87, 88, 89, illus. page 213, color plate 29.

Frere Luc (Claude Francois), (1614-1685), ‘Le Christ Adolescent’, oil on original canvas, 46 x 44.5 cm.

Attributed to Nicolas Poussin (1594-1665), ‘Sleeping Venus with a Cherub in a landscape’, oil on canvas, 63.5 x 109 cm. Dr. Timothy Standring has written in Apollo Magazine of March 2009 that Poussin kept himself alive after his arrival in Rome in 1624 by painting fashionable erotic subject matter and prepared examples as templates to choose from for his clients, after which he added the final erotic details. This painting, which is such a Poussin template, was copied for a  completed work and that finished version was auctioned at Christie’s South Kensington in 1997 (communication from Prof. Pierre Rosenberg).

Charles-Émile-Callande de Champmartin (1797–1883), ‘Hommage ȧ Schnetz’,  a portrait of the young Jean-Victor Schnetz (1787-1870), oil on sketch board, 19.1 x 27.5 cm., while he is painting ‘al fresco’ in Naples, April 17, 1817. Charles de Champmartin was a pupil of Géricault and who closely copied his master’s style, vide the signed fine oil sketch in Chicago of Géricault on his deathbed in1824, where one can observe the same thin pink and gray glazing for the skin tones. Champmartin traveled with Géricault to Naples in the Spring of 1817 where they visited Géricault’s good friend Schnetz, whose thirtieth birthday was on April 17. To emphasize that friendship, Champmartin painted the superb image of a flowering dandelion plant, symbol of a true and lasting loyalty.  

Jean Restout (1692-1768), ‘Alexander the Great giving his concubine Campaspe to the painter Apelles’, 1752, oil sketch on paper laid down to canvas, 27 x 19 cm. In 1739 Restout made several compositions in oil on canvas of this theme as cartoons for the Gobelins tapestry works, one of which resembling this sketch is now in the Karlsruhe Kunsthalle. When in an apartment at Versailles, given to him by the king, Restout made four small oil sketches in 1752 at the age of sixty which were thought to be copies but in fact as seen here, were entirely new variations on his original compositions (Gouzi, ‘Restout’ 2000, *P155, page 295). Restout at a mature level of his career may have felt free like so many other artists to sketch in oil by ignoring all the restraints of his former formal compositions.  

Charles Poerson (1609-1667), “Saint Catherine of Alexandria”, 65 x 54 cm. Poerson is a very idiosyncratic artist, who transformed the influences of his teacher Vouet into eccentric but fascinating characteristics, exemplified by his large symbolic portrait of a young ‘Louis XIV as Victor over the Fronde’ in Versailles and his brilliant and equally fascinating ‘Camma and Synorix’ in Metz. This beautiful Saint Catherine displays all these traits which are also reflected in the small tondos described and illustrated in Brejon, Reynes and Garnot’s ‘Charles Poerson 1609-1667’, Arthena 1997, nos, 14, 15, 16 and 17, pages 88/89.