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. Reserved to be donated to a French museum.

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. One finds here Jacques Stella at the height of French Classicism and Atticism circa 1640 with his usual Raphaelesque refinement. The painting is directly influenced by Claude Mellan, his neighboring artist lodging in the Louvre, whose ‘Mary Magdalene’ engraving is itself derived from a painting of the same subject matter by Orazio Gentileschi now in Vienna.

Michel Dorigny (1616-1665), partially after a design by Nicolas Chaperon (1612-1656), ‘Bacchanal’, probably the cartoon for a large tapestry, oil on canvas, 133.5 x 144.5 cm. The connection to Chaperon approved of by Patrice Marandel. The painting is in fact remarkably blasphemous: the drunken Silenus is depicted as Christ deposed from the Cross, the two Mary’s as nymphs casually looking on and the Crown of Thorns as a Laurel leaf crown. No wonder that Poussin disliked Chaperon, because he was very religious (an enmity so far not observed by scholars-vide the remark by Rosenberg in the exhibition catalog “France in the Golden Age”, 1982, page 237 # 19). Now in a New York private collection.

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.

Frère Luc (Claude François), (1614-1685), ‘Le Christ Adolescent’, oïl on original canvas, 46 x 44.5 cm. Acquired by the town of Sézanne (Marne), France. 

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). Now in a Paris private collection.

Attributed to Jean-Bernard Restout (1737-1797), ‘Alexander the Great giving his concubine Campaspe to the painter Apelles’, an oil sketch on paper laid down to canvas, 27 x 19 cm. The artist’s father Jean Restout made several compositions in oil on canvas of this theme as large cartoons for the Gobelins tapestry works in 1739, one of which resembling this sketch is now in the Karlsruhe Kunsthalle (Gouzi, ‘Jean Restout’ 2000, P95, page 255). The coloring responds to a ‘Sacrifice of Dido to Juno’, oil on paper laid down to canvas, now in the Metropolitan Museum, showing the same elongated figures with blank features (Willk-Brocard, ‘Jean-Bernard Restout’ 2017, 78P, pages 64, 160). Ours may well be a youthful quick oil sketch in homage to his father by Jean-Bernard because it shows the same curious black swirls to give the image liveliness as in a rare oil sketch by Jean Restout circa 1732, now in the Louvre (‘L’Apotheose du Geste’ 2003, page 98).

Charles Poerson (Vic-sur-Seille 1609 -1667 Paris), ‘Saint Catherine’, oil on canvas, 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’, Arthéna 1997, nos, 14, 15, 16 and 17, pages 88/89. Being acquired by the Musée Georges de La Tour in Vic-sur-Seille (Moselle), France.

A self-portrait by Joseph Ducreux (1735-1802), oil on canvas, 44.5 x 38 cm. (in the size of a pastel), court painter to Marie Antoinette, who painted Choderlos de Laclos, Jefferson, Robespierre and drew Louis XVI in the Temple. Here about the age of twenty-seven and influenced by a famous self-portrait by Maurice Quentin de La Tour. He arrived in 1760 in Paris and became fashionable as a portraitist, being admitted to the Académie St. Luc in 1764. He was sent in 1769 to Vienna by the French court to paint the young Austrian princess Marie-Antoinette. In this self-portrait Ducreux shows himself clad in an elegant blue outfit with gilt buttons, which indicate the results of his Parisian success. Much different than his later hard-edged caricatural self-portraits illustrating facial expressions, this painting relates directly to a somewhat later self-portrait drawing by Ducreux, which is dated circa 1770/1780, in the National Gallery (https://www.nga.gov/collection/art-object-page.72083.html).This image also can be compared in manner to a fine portrait by Ducreux of an ‘Elderly Lady’, probably his mother Anne Béliard Ducreux which was given to the New Orleans Museum of Art.