Antoine Le Nain Sold at Auction Prices

b. 1600 - d. 1648

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    • LE NAIN, ANTOINE / LOUIS / ET MATHIEU (attribué à) - Huile sur toile
      Dec. 16, 2022

      LE NAIN, ANTOINE / LOUIS / ET MATHIEU (attribué à) - Huile sur toile

      Est: CHF100,000 - CHF150,000

      LE NAIN, ANTOINE / LOUIS / ET MATHIEU (attributed to) , 1593-1648 / 1603-1648 / 1607-1677 L'Aumône Oil on canvas 103 x 82.5 cm At once strange and hieratic, these three figures appear as so many sculptures acting as allegories. It is true that the subject has moral value. The woman carrying her child on her back gives alms to a little girl who holds out her hand, unless she buys her a loaf of bread which she holds in her apron. From the side, this peasant-looking mother does not look much better off than the young beggar. The sleeves of her dress are torn, her brown dress seems to be made of the same material... there is hardly any difference between them. The child, on the other hand, looks directly at us as if to invite us to participate in this scene and to consider its edifying character. Painted with great sobriety, freeing it from any anecdotal aspect, including the stylised features of the faces, the scene is imbued with a religious aura in which the monumental figures stand out against a very sober setting consisting of a strip of landscape below on the right and an architectural base on the left. Although seemingly secular, the scene has a sacred significance as is often the case in the paintings of the Le Nain brothers, where the religious is concealed in the everyday. Antoine, Louis and Mathieu Le Nain were three French brothers who were renowned for their so-called realistic genre paintings of the 17th century. Raised in a rural environment to which they would always remain attached, they painted their contemporaries with great acuity, probably trained by Flemish painters (the Teniers?) from whom they acquired the ability to render everyday scenes. Antoine Le Nain (1588 ? -1648) was the eldest of the siblings; he painted throughout his career with Louis and Mathieu. In 1629, the three brothers opened a Parisian studio and became popular thanks to the genre scenes in which they specialised. Close to the court and the powerful, all three entered the Royal Academy of Painting and Sculpture in 1648, but Antoine and Louis died the same year. Mathieu continued his career as a talented portraitist, painting Mazarin and Queen Anne of Austria. Although the painting of everyday life was in vogue in Europe at the time, the style of the Le Nain family differed from the prevailing Caravaggism by the simplicity of the settings and a sober colour palette, emphasising shades of grey-brown as in this sober work. They endeavoured to render the intimacy of the warmth of a home or social relations, favouring the expression of faces over the proportion of the characters. A painting about introspection, rare in this demonstrative Baroque century. This work by an as yet unknown hand is clearly indebted to the work of the three brothers and belongs to one of their pupils. Provenance: Galerie Blendinger, Agno; Private Collection Schweiz.

      Galerie Dreyfus
    • LE NAIN, ANTOINE / LOUIS / ET MATHIEU - Huile sur toile signée
      Dec. 16, 2022

      LE NAIN, ANTOINE / LOUIS / ET MATHIEU - Huile sur toile signée

      Est: CHF100,000 - CHF125,000

      LE NAIN, ANTOINE / LOUIS / ET MATHIEU , 1593-1648 / 1603-1648 / 1607-1677 Carriole and figures at the entrance to a village Oil on canvas signed 63 x 66 cm This small group of figures in the foreground seems to be in the midst of a negotiation. Two men, of different conditions, are discussing under the circumspect gaze of a woman and a little girl who surround them. Facing us, the man in the smart suit, adorned with lace, has kept his hat on his head, while his interlocutor, of more modest origin, has respectfully removed it. From behind, he takes a step backwards and seems to recoil at the finger pointing at him. Standing slightly behind her husband, the richly dressed woman observes without intervening. Could it be a discussion about a transaction to be paid for the cart on the right? In the background, a man turns away with his head bowed, as if he had been pushed aside. By the whip he is holding, we can make out the carriage's saddle. Attentive to the small facts of everyday life, sensitive to the behaviour of their contemporaries, the Le Nain brothers know how to translate the society that surrounds them with sobriety and confer on them an allegorical or even biblical status. One finds oneself looking for some hidden parable in their focused scenes of everyday life. Antoine, Louis and Mathieu Le Nain were three French brothers painters of the 17th century renowned for their so-called realistic genre paintings. Raised in a rural environment to which they would always remain attached, they painted their contemporaries with great acuity, probably trained by Flemish painters (the Teniers?) from whom they acquired the ability to render everyday scenes. Antoine Le Nain (1588?-1648) was the eldest of the siblings; he painted throughout his career with Louis and Mathieu. In 1629, the three brothers opened a Parisian studio and became popular thanks to the genre scenes in which they specialised. Close to the court and the powerful, all three entered the Royal Academy of Painting and Sculpture in 1648, but Antoine and Louis died the same year. Mathieu continued his career as a talented portraitist, painting Mazarin and Queen Anne of Austria. Although the painting of everyday life was in vogue in Europe at the time, the style of the Le Nain family differed from the prevailing Caravaggism by the simplicity of the settings and a sober colour palette, emphasising shades of grey-brown as in this sober work. They strive to render the intimacy of the warmth of a home or of social relations, favouring the expression of faces over the proportion of the characters. A painting about introspection, rare in this baroque century, all about demonstration. Provenance: P. de Boer, Amsterdam, 1938; Sale from the collection of M. X and to various amateurs, Paris, Galerie Charpentier, 1 June 1951, no. 115 (attributed to Matthieu Le Nain); Collection Edouard des Courières (1896-1987); Then by descent. Georges ISARLO, 'Les trois Le Nain et leur suite', in La Renaissance, March 1938, fig. 58.

      Galerie Dreyfus
    • ANTOINE LE NAIN - Huile sur panneau
      Dec. 16, 2022

      ANTOINE LE NAIN - Huile sur panneau

      Est: CHF300,000 - CHF350,000

      ANTOINE LE NAIN , LAON, c. 1588 - PARIS, 1648 Three women with three children Oil on panel 29.5 x 36.5 cm Three women pose in the company of three little girls, or at least three children dressed in dresses, as they were then worn indifferently by boys and girls until about the age of six. These three children are here the main characters of the scene although relegated to the right. Elegantly dressed in fine dresses worn over white shirts with cuffs protruding from the sleeves, they look like small adults in reduction; the first child even sports a scalloped breastplate. Frozen in their three similar poses, arms at their sides, they stare at us ready to curtsy. In comparison, the three adults on the left are more drab, probably the children's servants, nanny and governess. Two of the women are seated, a third is moving in the shadows at the back. We can't make out anything about this room, whose dark background brings us back to the foreground. To the whiteness of the tablecloth where a dish and a loaf of bread are laid out. Although the range of colours is fairly limited, with browns and greys predominating, white plays a special role, underlining the presence of each character with more or less intensity, depending on their social importance. But it is indeed red that indicates to us here the characters whose portrait we wish to fix, these three children of a rich 17th century bourgeois family. Antoine Le Nain (1588 - 1648) was a French painter renowned for his so-called realistic genre paintings. Raised in a rural environment to which he always remained attached, Antoine was the elder of two brothers, Louis and Mathieu, with whom he painted throughout his career. In 1629, the three brothers opened a studio in Paris and became popular thanks to the genre scenes in which they specialised. Although the painting of everyday life was in vogue in Europe at the time, Le Nain's style differed from the prevailing Caravaggism in the simplicity of the settings and a sober colour palette, emphasising shades of grey-brown as in Three Women with Three Children. They endeavour to render the intimacy and warmth of a home, favouring the expression of the faces over the proportion of the characters, which are sometimes rendered clumsily. This work attributed to Antoine's hand alone is rather rare, probably because it is a particular commission for a group portrait. Certificate: René Millet Expertise

      Galerie Dreyfus
    • Louis Le Nain (1593 Laon – 1648 Paris), Antoine Le Nain (1588 Laon – 1648 Paris) und Mathieu Le Nain (1607 Laon – 1677 Paris)
      Sep. 23, 2021

      Louis Le Nain (1593 Laon – 1648 Paris), Antoine Le Nain (1588 Laon – 1648 Paris) und Mathieu Le Nain (1607 Laon – 1677 Paris)

      Est: €100,000 - €150,000

      RefOld13921 CARRIOLE ET FIGURES À L´ENTRÉE D`UN VILLAGE Öl auf Leinwand. 53 x 66,5 cm. Um 1640-60. In vergoldetem Prunkrahmen.Eine kleine Gruppe von Figuren im Vordergrund vor einem Haus scheint sich mitten in einer Verhandlung zu befinden. Zwei Männer unterschiedlicher Herkunft diskutieren unter den wachsamen Blicken einer elegant gekleideten Frau und eines kleinen Mädchens, die sie umgeben. Der Mann in einem mit Spitzenkragen verzierten Gewand hat seinen Hut auf dem Kopf behalten, während sein Gesprächspartner von bescheidenerer Herkunft ist, seinen Hut in der Hand hält, ihn respektvoll anschaut und vor dem auf ihn gerichteten Finger zurückzuschrecken scheint. Die reich gekleidete Ehefrau steht etwas hinter ihrem Mann und beobachtet ihn ohne einzugreifen. Rechts neben der Gruppe ein kleiner Hund, während links von ihnen ein kleines Mädchen in langem türkisblauem Gewand steht und ein kleines Blumensträußchen überreichen möchte. Rechtsseitig ist ein braunes Pferd vor einen Planwagen gespannt, von einem Mann bewacht, vor Landschaftshintergrund mit hohem blauem Himmel und weißen Wolkenformationen. Am unteren rechten Bildrand zudem zwei Holzfässer. Qualitätvolle Malerei in zurückhaltender Farbgebung einer Darstellung des alltäglichen Lebens. (†)Provenienz: P. de Boer, Amsterdam, 1938. Auktion M.X. et à divers amateurs, Paris, Galerie Charpentier, 01. Juni 1951, Lot 115 (Matthieu Le Nain zugeschrieben). Sammlung Edouard des Courières (1896-1987). Danach an Erben übergegangen. Anmerkung: Die Brüder Le Nain waren drei französische Maler des 17. Jahrhunderts. Sie betrieben in Paris eine gemeinsame Werkstatt und waren auf Portraits, religiöse Motive sowie bäuerliche Szenen spezialisiert. Literatur: Georges Isarlo, Les trois Le Nain et leur suite, in: La Renaissance, 1938, Abb. 58. (12813019) (18)Louis Le Nain (1593 Laon – 1648 Paris), Antoine Le Nain (1588 Laon – 1648 Paris) and Mathieu Le Nain (1607 Laon – 1677 Paris) CARRIOLE ET FIGURES À L’ENTRÉE D’UN VILLAGE Oil on canvas.53 x 66.5 cm.Ca. 1640-60. (†)Provenance:P. de Boer, Amsterdam, 1938.Auction M.X. et à divers amateurs, Paris, Galerie Charpentier, 1 June 1951, lot 115 (attributed to “Matthieu Le Nain”).Collection Edouard des Courières (1896 – 1987).Subsequently passed to heirs.Literature:G. Isarlo, Les trois Le Nain et leur suite, in: La Renaissance, 1938, ill. 58.

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